Ônibus 174

"It is no use killing street kids. There will always be more of them" - 17-year old at the Sao Martinho shelter

Brazil has approximately seven million children working and living on the streets of its cities, finding street life an acceptable alternative to abuse and poverty at home. On the streets, children do whatever it takes to survive including stealing, drugs, and often murder and most end up in juvenile detention centers or in prisons where their antisocial behavior is reinforced. In his powerful documentary, Bus 174, Jose Padilha depicts one of the most publicized media events of 2000, the hijacking of a city bus in a wealthy part of Rio by a former street kid, Sandro do Nacimento, igniting a standoff with the police and a media circus that lasted for hours on live TV.

The film begins with aerial shots of the crowded city while the homeless talk about the reasons they ended up on the streets. The camera then zooms in to a solitary bus surrounded by police. Due to the failure of the Brazilian police to cordon off the area, the crime scene swarmed with cameramen, journalists, police, and passersby, adding to a scene of chaos and confusion. As the drama begins to unfold, we see Sandro holding one hostage by the neck, walking up and down the bus as if not knowing what to do. At first, he seems uncertain, wrapping a towel around his face to hide from the camera and making unusual demands from the police such as a small sum of money, a hand grenade, and a bus driver.

Things become more desperate when one of the female hostages writes in lipstick on the windshield "He is going to kill us all at 6:00. Help us." but the police do nothing except to stand around. Police said later that the presence of the live TV cameras inhibited them from taking aggressive measures to end the ordeal.

Using original footage from Global TV and interviews with former hostages, friends and relatives of the hijacker, sociologists, and police who participated in the standoff, Padilha focuses not only on the events as they took place but on the circumstances that may have triggered it. Padilha said in an interview, "There was a lot of press coverage, but it was cloudy, it wasn't complete. It was focused on the police, and on the political side of the issue. I felt like I was missing something, I was missing the hijacker." What he finds does not justify Sandro's actions, but makes them more comprehensible. Padilha reveals that Sandro, at age 6, witnessed his mother being stabbed to death in a robbery.

Unable to come to grips emotionally with the tragedy, he became a street kid in the Copacabana area. By the time of the hijacking, Sandro had been in prisons and juvenile detention centers where, according to Padilha, inmates are regularly brutalized. In 1993, he was involved in an incident in front of the Candelaria Church where he often slept in which plainclothes policemen intentionally gunned down eight street children, many who were his friends, an incident Sandro recalls emotionally when shouting at the police from inside the bus.

The film also reveals the connection many of the hostages felt for their tormentor, though deeply afraid for their lives. Some felt that they were participating in a made for TV movie because of the times Sandro would tell them to pretend that they were in danger, although he yells at the police that "this ain't no action movie but some serious sh**". Though Padilha retains his objectivity throughout, he uses the hijacking to expose the weaknesses in Brazil's society that make incidents like this possible.

"We treat those kids as though they are invisible," he says. "They're always trying to get your attention, to get your money. And they realized they could get your attention through violence, because violence attracts the media." Bus 174 attracts our attention immediately and the tension is palpable until its moving conclusion. Like the recent City of God, Bus 174 does not provide any solutions but shines some light on a problem many would prefer to keep hidden, perhaps in the process making the invisible a little less so.

I just saw this movie, and I cannot imagine a more terrifying, sad, and heartbreaking piece of film existing. this movie is simply devastating. I was sobbing within the first 20 minutes. A young man of 19(who looks about 50)hi-jacks a bus and we see the results of an agonizing life play out before our eyes. It is hard to watch, and hard not to deeply care for Sandro. I cannot put into words how heartbreaking and important this movie is. Sandro's life is irrevocably doomed, and we discover there are thousands almost exactly like him, roaming the streets of Rio, desperate and hungry for any kind of social acknowledgement. It should be required viewing for the human race.

Rio de Janeiro, June 12th 2000: it's Valentine's day in Brazil. In Rio's only favela-free middle-class neighborhood (Jardim Botânico), a young black man, drugged and armed, hijacks bus 174 with a dozen passengers in one of Rio's busiest avenues in mid-afternoon. What would have been just one more event in Rio's violence statistics turns out to be a nationwide live-TV horror show. The traffic stops, the elite police surround the area, the bandit threatens to shoot the passengers and then kill himself. The "negotiation" lasts four hours, involves even the governor of Rio de Janeiro state, in what became one of the highest rating events on Brazilian TV history and exposed one of the most stupid and catastrophic police strategies ever devised.

As the negotiation goes on, TV reporters find out that the young hijacker is in fact a survivor of one of Rio's most horrendous crimes: as a young street kid he had escaped being murdered by policemen in the infamous Candelária child mass murder in the early 90s and, instead of being protected by the government, he was sent to a reform unit under appalling conditions (the facilities of the reform unit are some of the most shocking scenes in "Bus 174"). He had also, as a young child, witnessed bandits stab his mother being to death by bandits in front of him.

This powerful documentary includes live TV scenes of the actual hijack and its tragic denouement -- the shooting of one the victims and the bandit's arrest and subsequent assassination by the police, reported then as suicide and eventually proved in court to be manslaughter. It also contains interviews with social workers and sociologists (some of them insightful, others the usual B.S.), shocking interviews with bandits and street kids who knew him, and the testimony of some of the passengers and policemen who were part of the action. If this were a work of fiction, it would be hard to believe, but it's all true.

The opening sequence is especially powerful and revealing: it's one uninterrupted aerial shot of Rio's beautiful shoreline, leading to the imposing mansions of the wealthy, then up to the forest on top of Vidigal hill -- and suddenly the camera tilts downwards and, like a punch in the jaw, we see the immense favela of Rocinha, the largest in Latin America, with some 200,000 inhabitants -- all of that part of the same neighborhood, high-profile wealth and destitute poverty co-existing side by side, sharing the same few square miles.

This is a film that poses a series of difficult questions on violence, public education, social welfare, child abuse, imprisonment policies, juvenile crime, police training and strategy, police abuse, drug addiction, TV ethics and responsibility, the role of social work and rehab, poverty and injustice. No easy answers or solutions here, but very important and disturbing questions all the same.

Do not watch this if you're in search of light entertainment! On the other hand, if you want to know a little bit about what it's like to live in a big city in the Third World -- where the rich and the poor are simultaneously so close (geographically) and far apart (in human and social rights) at the same time -- don't miss it!! If you live in a rich country, prepare to be shocked.

I can't disagree more with the previous reviewer about this film. The subject is so completely eye opening for American's to see, I think it should be mandatory viewing for high school kids.

Rio de Janeiro is such a different kind of city compared to anything in our country. In the legal system, people are treated worse then animals. The police force is completely untrained. Thousands of homeless children walk the streets and are systematically murdered by police and people who are aggravated by their presence. To many people, killing off the homeless children is the only solution to a staggering social problem.

The kidnapper in "Bus 174" is a product of the city and the time. What started out as a basic robbery, became a hostage situation where social problems were brought to the attention of millions of people. He became an accidental spokesman for the plight of homeless children in Rio.

No one can guess how badly the police attempt to resolve the situation. It has become a case study for police all over the world on how a hostage situation can be poorly handled.

As a film, it kept my attention the whole time, and not using a narrator and letting the story unfold simply through interviews and news footage is classic documentary style. Too many filmmakers and news personalities put themselves into their films.

The filmmakers in "Bus 174" were able to capture the story of the hijacker, and the sociology of the city of Rio.

On June 12, 2000 Sandro de Nascimento stepped onto a bus in Rio de Jeneiro, brandished a handgun and demanded money from its patrons. It was just another day in Rio. Well, it was, until an unnecessarily prompt response time by police turned the simple robbery into a complex hostage situation destined to be botched through incompetence. Toss in virtually unrestricted media coverage throughout the five-hour ordeal and what followed was a sequence of dramatized misfortunes to rival the wet dreams of any reality TV producer.

Bus 174, is a documentary by Jose Padilha, focusing on the "how's" and "why's" of the avoidable tragedy that was this day-long fiasco. Relying heavily on in-your-face news footage that was broadcast live to Brazilians around the country; as well as in-depth interviews with hostages, police officers and friends and family of Sandro, Padilha inter-cuts the events of June 12 with the story of Sandro's life as a doomed street kid shunned from society. In so doing, Padilha addresses that age-old ideological argument of nurture vs nature. Did Sandro instigate the events leading to this tragedy of police incompetence simply because it was bread into him? Or might there be more to the story? Had he believed the former, Padihla would have had a much shorter film on his hands. Fortunately for us though, he chose to go against the teachings from the "school of Bush", painting the scenario, not in black and white, but in a muddled gray.

And so we are told the story of a child who, after witnessing the brutal murder of his mother at the age of 5, was destined for a life on the streets where crime is simply a means of survival. We are told of the socio-economical issues in Brazil, where its class system has divided the nation to a point where rich ignore the poor (unless it's to drop slabs of rock on their heads while they sleep). We are told of a government whose brutal attitude towards street kids helped instigate the Candelaria massacres (where Sandro again got to witness the slaying of the people he called family). And we are told of a penal system so inhumane and violent, people would rather die then go to jail. What we are told is that violence begets violence.

As manipulative and subjective as some documentary film-making can be, it is often easy for critics to discredit a film like this as being socialist propaganda (just ask Michael Moore). But it is to Padihla's credit that he is able to avoid this by simply presenting us with the information he has acquired. We are not force-fed opinions and told what to believe, nor is Sandro portrayed as some sort of martyr for equal-rights, we are simply given the full story and are then left to draw our own conclusions.

Because what some may see as black and white, the rest of us see as shades of gray -Shaun English