O Auto da Compadecida

When the 4-chapter mini-series was announced by Globo network, few people expected it to be THAT good, for the simple reason that nothing that good had been done in Brazilian television in the previous 15 years. The adaptation is efficient, departing very little from Cabral de Mello Neto's text and mood, the direction, scenography and art direction are beautiful, the humour is well balanced with adventure and drama, everything works well. But the real treat you get watching this is Nachtergale's performance as Joao Grilo. This is the production that made everyone agree that he is the best actor of his generation by a mile. Let me talk a little of what the story is about. It is not really a 'fantasy' of the writer as some American viewers (understandably) thought. The play's proposal is to be an adaptation of several texts from the tradition of 'cordel literature', typical of the Brazilian northeast (where the play is set). Those texts are mostly long poems that translate the folklore of that region. It is, of course, a very catholic area, but in a very peculiar way. Jesus ('Manuel'), Mary ('the Merciful') and the devil ARE common characters of those folk stories, and they are as 'accessibile' to people as the movie shows in Brazilian Folklore. Also from 'Cordel literature' comes the character of 'Joao Grilo'. Anyone who sees this movie and don't know Grilo should watch for Shakespeare's 'Henry IV' (the character Falstaff) and Moliere's 'Scapino'. It is sort of a universal character – the court's fool, and doesn't belong to Arraes, Mello Neto or even to Brazilian Folklore. So it is not really someone's fantasy – it is the fantasy of an anonymous collective, the people from Brazil's northeastern 'sertao'. It is a great movie anyway, I just thought people would like to know the background.

One of my favorite Brazilian movies. Matheus Nachtergaele and Selton Mello did a terrific job together. The movie is funny, colorful, engaging and has a little bit of culture from the northeast of Brazil. Definitely a must watch movie.

Before watching it, get this straight !

1- This movie is an adaptation from a original play and smaller works from the same author (1955).

2- This is not how Brazil is today in the country side but how it was at the beginning of the 20 century (circa 1920). Sort of Brazilian Wild West (in our case Wild East).

3- This was a TV series much longer and was reduced to almost 1/3 of its original size for the theaters and DVD due to the great viewers ratings of the TV series.

4- Much of the jokes and characters are local to the region shown in the movie: Sertão Brasileiro.

5- To understanding the movie you should really know Brazilian Portuguese, some local accents related to the plot and the colloquial words used make it very tricky to translate, and in many cases, impossible. I watched also with English subtitles, and believe me: most of the jokes are gone.

6- There is no parallels between this movie and "Cidade de Deus" (City of God). You can argue about the technical aspects of them but for me, is like comparing "much ado about nothing" (from Shakespeare) and American Pie. To really appreciate "much ado..." you you must master the English Victorian world completely (of course... its out of my league. Eng. is not my first !). Or like old Italian comedies from the 60 and 70 where many joke relay on gestures that a foreign just cant understand.

7- And about the religious ending, its a joke inside the joke. And of course, if you cut a work that takes 3 1/2 hours to just 90 minutes and thinks that its the same thing.

...for example, for a native Brazilian, its just hilarious to see a black Jesus, a Zelot Devil and organized one following rules by the book.

In the other hand, you could compare this movie to DOGMA (Kevin Smith). And its way better than DOGMA.

Thats all folks...

And of course... I'm a Brazilian.

"O Auto da Compadecida," commonly translated as "A Dog's Will" (a translation which, to my ears, waters down the significance, the gravitas, and the poetry of the title in the original) is a sure-classic and a phenomenon of the Brazilian cinema and popular culture of the recent past and of modernity in the rural communities of its countryside. The film has marked the heart and the soul of an entire generation since the dawn of the twenty-first century, and features lines and words still common-parlance among the average Brazilian (e.g., João Grilo's : "Não sei não... Só sei que foi assim. ("I don't know--all I know it was so"))

All in all, the film portrays themes of class, spiritual feelings, and some legendary figures of the folklore and of the past of the Brazilian drylands and Northeast. In a way, "O Auto da Compadecida" memorializes through the friendship of Chicó and João Grilo an entire generation and past, an entire dialectic and language, all done with outstanding actors, actresses, and acting overall.

This is surely a landmark of Brazilian cinema, imagination, and one that is sure to delight those open to receive its humor and themes of love, spirituality, redemption, and forgiveness.

It's hard to find actors with as much charisma and on-screen chemistry as this movie's main duo. Throw in an impeccable script and various Cameos by Brazil's biggest and brightest stars, and you'll have one of the funniest movies ever made (and my personal favorite amongst the post-1980s Brazilian productions. The only downside of this movie is that it was originally a four-hour TV mini-series; the two-hour version is inevitably condensed. If you have the option of choosing between them, go for the complete work. If not... well, half the laugh is still better than no laugh.