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IMDbPro

Como Era Gostoso o Meu Francês

  • 1971
  • Not Rated
  • 1h 24min
CALIFICACIÓN DE IMDb
6.7/10
1.2 k
TU CALIFICACIÓN
Como Era Gostoso o Meu Francês (1971)
AdventureComedy

Agrega una trama en tu idiomaIn 1594 in Brazil, the Tupinambás Indians are friends of the French and their enemies are the Tupiniquins, friends of the Portuguese. A Frenchman (Arduíno Colassanti) is captured by the Tupi... Leer todoIn 1594 in Brazil, the Tupinambás Indians are friends of the French and their enemies are the Tupiniquins, friends of the Portuguese. A Frenchman (Arduíno Colassanti) is captured by the Tupinambás and, in spite of his trial to convince them that he is French, they believe he is P... Leer todoIn 1594 in Brazil, the Tupinambás Indians are friends of the French and their enemies are the Tupiniquins, friends of the Portuguese. A Frenchman (Arduíno Colassanti) is captured by the Tupinambás and, in spite of his trial to convince them that he is French, they believe he is Portuguese. The Frenchman becomes their slave, and maritally lives with Seboipepe (Ana Mari... Leer todo

  • Dirección
    • Nelson Pereira dos Santos
  • Guionistas
    • Humberto Mauro
    • Nelson Pereira dos Santos
  • Elenco
    • Arduíno Colassanti
    • Ana Maria Magalhães
    • Eduardo Imbassahy Filho
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.7/10
    1.2 k
    TU CALIFICACIÓN
    • Dirección
      • Nelson Pereira dos Santos
    • Guionistas
      • Humberto Mauro
      • Nelson Pereira dos Santos
    • Elenco
      • Arduíno Colassanti
      • Ana Maria Magalhães
      • Eduardo Imbassahy Filho
    • 19Opiniones de los usuarios
    • 22Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
    • Premios
      • 1 premio ganado y 1 nominación en total

    Fotos19

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    Elenco principal25

    Editar
    Arduíno Colassanti
    • The Frenchman
    Ana Maria Magalhães
    Ana Maria Magalhães
    • Seboipepe
    Eduardo Imbassahy Filho
    • Cunhambebe
    Manfredo Colassanti
    Manfredo Colassanti
    • The tradesman
    José Kléber
    • Ipiraguaçu
    Gabriel Archanjo
    • Mbiratata
    Gabriel Araújo
    Marlete Ribeiro Barbosa
    Ana Batista
    João Amaro Batista
    Heloisa de Carvalho
    Jorge Rodrigues da Silva
    Rose de Carvalho
    Gildete Dos Santos
    Lidia Maria Dos Santos
    Hélio Fernando
    Erley Freitas
    Luiz Carlos Lacerda
    • Dirección
      • Nelson Pereira dos Santos
    • Guionistas
      • Humberto Mauro
      • Nelson Pereira dos Santos
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios19

    6.71.2K
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    Opiniones destacadas

    7franbelle10

    More comedy than documentary

    This is an unusual film, taking a true story and turning it into a philosophical comedy about the nature of man, civilisation and barbarism. For the purposes of philosophical demonstration, the conclusion diverges sharply from the experience as recounted by the navigator Hans Staden. The moral lesson is pleasant thanks to this, despite the occasional length. Clearly this film leans more towards comedy than documentary.

    The same subject was dealt with in a less nudist, less caricatured, less amusing and darker way in 1999, but just as anthropologically under the title "Hans Staden", which I prefer by a narrow margin.
    7jzappa

    How Have They All Shaved Their Pubes?

    I was hardly aware of the time in history depicted in this 1971 Brazilian black comedy, however that is not to say it wasn't accessible to me because the movie makes it very clear. It's set in 16th century Brazil, where rival French and Portuguese settlers are exploiting the indigineous people as confederates in their battle to assert dominance. What is particularly interesting about the movie is that it is made by the Portuguese from the point of view of the French. The hero is a likable Frenchman, the Portuguese are barbarians, and the rest of the French are oppressive and greedy. The film's Portuguese makers are objective because when all is said and done, we see that it makes no difference whose side one takes. It's about heredity overpowered by environment in a time starkly defined by tribes. Enemies are made and perpetuated, and like so, the environmental integration never progresses.

    A Frenchman is captured by the Portuguese is then captured by an indigenous tribe, the Tupinambas, after they massacre a group of Portuguese. The tribe's shaman predicted they would find a strong Portuguese man to cannibalize as revenge for the chief's brother being killed by a Portugeuse musket ball. Thinking the Frenchman is Portuguese, they believe they now have one. Nevertheless, the Frenchman is granted unrestrained course of the village, is sooner or later given a wife, and assumes their accustomed appearance rather than his Western clothes, or any clothes. Another Frenchman comes to the village and tells the tribe that their prisoner is indeed Portuguese, then assures the incensed Frenchman that he will tell them the truth when the Frenchman finds a secret treasure trove that another European has hidden nearby.

    I found the opening scene funny, because its narration apposed with its contradictions on- screen serve as great satire, even if the movie didn't seem to want to maintain that tone very much more often. It's actually not a terribly riveting film. The bountiful, essential locale, fierce way of life and ripened native women make not only the Frenchman, but us, too, forget any threat, and we have the feeling of him as a free man. It should not be that terribly hard to escape. The cannibalism is as scarce of desire as the full-frontal nudity of the cast, suggested in lieu as the representative core of Pereira dos Santos's dry political cartoon of New World mythology and undeveloped social coherence. At any rate, this 1500s-era social commentary, shot on location at a bay with 365 islands, played almost entirely nude and almost entirely written in Tupi, encourages effective breakdown of established ways which are topical because they've repeated themselves for centuries.
    6CelluloidRehab

    Like Dances with Wolves, except with cannibals

    This is a pseudo-documentary about a French mercenary whom is executed, ends up as a prisoner of the Portuguese and then is the "honored guest" of a cannibalistic Brazilian native tribe. The film is based on the 16th century account of a German explorer, Hans Staden, who was captured by the Tupinamba. The Frenchman becomes part of the tribe, is even given a wife and a hut, until he is to be eaten in a massive ceremony. During this time he tries to figure out a way to escape, by conforming to the tribe.

    This film was originally banned in Brazil and was rejected from the Cannes Film Festival because of excessive nudity. The subject matter is portrayed in a documentary style, complete with shaky hand camera footage and including the spoken languages of French, Portuguese and Tupi. With the exception of the few European characters, the majority of the cast spends the film either bottomless, topless or both (also both sexes). The production value appears at first to be quite underwhelming, but I think instead it tries to emulate the simplicity and actuality of the situation rather than some ornate (or romanticized) recollection.

    At the same time it is trying to be an objective observer, it is also a critique of mercantilism and its descendants; monetarism and capitalism. There is no real judgment being issued here, but rather is a look at the encounter of the cultures, in an anthropological or rather a more realistic reinterpretation of what occurred when these cultures interacted. Some have said this a black comedy, but I did not find too many places to break out into a roaring laughter (though I did chuckle a few times at the cultural misunderstandings).

    This may sound like a rather dry film (which it is), but the relatively short running time makes it seem more like a PBS special than an actual feature film. The movie would also seem to resonate more with the situation and culture of Brazil (past and present). Brazil is a unique country, with a diverse history and culture. It was one of the first films that tried to relate to the "savages", in light of the audience's identification with the Europeans. Even 30 years later, its relevance continues.
    8claudio_carvalho

    The Beginning of the Exploitation of Brazil in a Very Realistic Movie

    In 1594 in Brazil, the Tupinambas Indians are friends of the Frenches and their enemies are the Tupiniquins, friends of the Portugueses. A Frenchman (Arduíno Colassanti) is captured by the Tupinambás, and in spite of his trial to convince them that he is French, they believe he is Portuguese. The Frenchman becomes their slave, and maritally lives with Seboipepe (Ana Maria Magalhães). Later, he uses powder in the cannons that the Portuguese left behind to defeat the Tupiniquins in a battle. In order to celebrate the victory, the Indians decide to eat him.

    "Como Era Gostoso o Meu Francês" is another great low budget movie of the great Brazilian director Nélson Pereira dos Santos. The screenplay is very original and the story is spoken in Tupi. The film is shot using natural light most of the time and is very realistic. The actors and actresses perform naked and Ana Maria Magalhães is magnificent, showing a wonderful body and giving a stunning performance. The sound is produced by the Brazilian musician Zé Rodrix. This movie shows the beginning of the exploitation of my country by Europeans, focusing in the Portuguese and French at that time, trading with the Indians and exchanging combs and mirrors by our natural resources. This movie was awarded in the national festivals, such as the 1971 Brazilian Cinema Festival of Brasília (Festival de Brazília do Cinema Brasileiro) with Best Screenplay (Nelson Pereira dos Santos), Best Dialog (Nelson Pereira dos Santos and Humberto Mauro) and Best Cenograph (Régis Monteiro); Art Critics Association of São Paulo (Associação Paulista dos Críticos de Arte), with best Revelation of the Year (Ana Maria Magalhães) and some other prizes. My vote is eight.

    Title (Brazil): "Como Era Gostoso o Meu Francês" ("How Tasty Was My Frenchman")
    raybea

    This is a film once seen - you'll never forget it.

    Why have I never heard of this remarkable film before? It is totally riveting, engrossing. A Frenchman is captured by an Indian tribe in coastal Brazil not so long after Columbus discovered the New World. He is taken as a slave into the village, given a beautiful girl (widow of a warrior he had killed) as his wife, and told that in eight months they will eat him.

    The growth of his relationship with the tribe and his native bride, and his acceptance of their ways - while still desperately searching for ways to escape - are spellbinding. This is authentically done, so no-one in the movie wears much more than a string of beads. But you quickly realise how superficial clothes are, and before long you cease noticing that no-one is wearing any. As for the climax - oh boy....

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    Argumento

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    • Trivia
      Nearly all dialogue is written and spoken in the original native Brazilian Indian language Tupi, as translated by the celebrated Brazilian pioneer filmmaker Humberto Mauro.

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    Preguntas Frecuentes

    • How long is How Tasty Was My Little Frenchman?
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    Detalles

    Editar
    • Fecha de lanzamiento
      • mayo de 1971 (Francia)
    • País de origen
      • Brasil
    • Idiomas
      • Tupi
      • Francés
      • Portugués
    • También se conoce como
      • How Tasty Was My Little Frenchman
    • Locaciones de filmación
      • Paraty, Río de Janeiro, Brasil
    • Productoras
      • Condor Filmes
      • Luiz Carlos Barreto Produções Cinematográficas
      • Regina Filmes
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

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    • Tiempo de ejecución
      1 hora 24 minutos
    • Mezcla de sonido
      • Mono
    • Relación de aspecto
      • 1.37 : 1

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