Abril Despedaçado

a Kadare's adaptation. who preserves the colors of lines, the light of phrases, the bitter splendor of small things. a film about family, duty and sacrifice. simple. touching. seductive because it presents just pillars of life without the desire to be more than a sketch. and becoming convincing portrait of a rural Brasil, a poor family, a shirt and its colors, a love story and a wise boy who change his world. the performances. the landscapes. the cinematography. each as a gem. for present a story who is only portrait of life. nothing new. only an old story from an Albanian writer. becoming a Brazilian movie as a kind of bridge of basic essential things.

I bought this film by chance to give myself a shot of culture, and wasn't really expecting it to live up to much. I had never heard of it before, but I liked the cover and the story sounded OK. However, I was in for a real treat. Beautifully shot against Brazilian landscapes and told through a cast of tremendously talented actors, especially, and most surprisingly, Rodrigo Santoro, of Love Actually fame. However, it is the little boy who really steals the show. He is fantastic and will have you reaching for the Kleenex. The beautifully told relationships between the families and the drama of the feuds just makes this film one of the best foreign films ever, and, if you can be bothered to read subtitled films, this is one you won't regret getting. It is really that good, and the cinematography is astounding. Sorry to keep talking in hyperbole, but it really is phenomenal.

This is a wonderful portrayal of human pride and stubbornness along with love and duty. Most of the people in the western world don't understand what's shown here. It's not about glorifying violence but in certain cultures honor is everything and people would rather die than be dis-honored.

It shows the struggle between doing the right thing and doing the honorable thing. The struggle in Tonio between the duty and love. The "kid" Pacu steals the movie but the barren lands is just as much amazing as the movie itself. The cinematography adds just as much to the movie as the story. The same geography seen everyday seems so dreary but here it's so beautiful. All the characters are so helpless in their own situation and only two of them choose to break free. The girl and the kid. Yet they break everything apart what's holding the rest of them hostage.

It's a must see movie if you are one of those people who yearn for knowing more of what lurks inside our own hearts.

"And a little child shall lead them" - Isaiah 11:6

"An eye for an eye - until everyone is blind" - Pacu

A ten-year old (Ravi Ramos Lacerda) with a magnetic smile referred to only as "the Kid" (until given the name Pacu much later) narrates. "This is the story of me, my brother, and a shirt in the wind", he says at the outset. "When the blood on the shirt turns yellow, someone will die". Based on the Albanian novel, Broken April by Ismail Kadaré, Behind the Sun by Walter Salles (Central Station) is a story of revenge and brotherly love set in tiny Stream-of-Souls in northeast Brazil around 1910. A blood feud between two families over a piece of land has continued for generations. After a member of one family is murdered, a mourning period of one month is allowed, then the killing of a member of the other family takes place. This is the way they've always lived. "It's like two snakes I saw fighting," says one observer. "Each one was biting the tail of the other; they ate each other until nothing was left".

Since his brother Inacio was gunned down, another brother Tonio (Rodrigo Santaro) must protect the family's honor and avenge the murder. The family is poor and the father forces his sons to work in the burning sun growing sugarcane. "We are like oxen," Pacu says. "We go round and round and never go anywhere." When Tonio asks for peace, his father labels this as a dishonor to the family. Only when Pacu and Tonio meet the beautiful Clara (Flavia Marco Antonio), an itinerant circus performer, can the possibility of a different life be glimpsed. Realizing his longing to see new things, Tonio takes Pacu to the circus in a nearby town meeting Clara who also longs to escape from the circus. Though aware of his destiny, she visits him at home and they fall in love. In one of the loveliest moments in the film, Tonio holds a rope as Clara twirls above him faster and faster in a moment of exhilarating freedom. Seeing the joy on Tonio's face, Pacu knows that he alone must assume responsibility for ending the violence.

Behind the Sun occasionally lapses into self-consciousness, yet it is redeemed by the surreal beauty of the Brazilian landscape, the loving relationship of the two brothers, and the elemental power and relevance of the story. In this film, both families would rather be right than do what is nurturing. They accept the ritual of killing only because of some misguided notions about honor. Salustiano tells Clara, `They would rather kill than solve their problems; those are the real fanatics.' Any resemblance to people living or dead is not purely coincidental.

I think that - along with Central Station - this is the finest movie ever to come out of Brazil. Walter Salles shows he can go beyond the cheap formula of violence/misery/sex that populated most Brazilian films in the past. While showing the true face of poverty, he doesn't nourish the expectation with such corny stereotypes. That's chasing scene will stay in my mind forever. I am glad to see that Brazilian cinema is experiencing its richer moment since the 1960's.

The first time I've heard about Behind the Sun, I thought it was a tale based on the true story of two families in the state of Paraiba. The ongoing vendetta was in the news all over the 1970's. I was surprised to hear that `Abril Despedaçado' was in fact based on a book from an Albanian writer. It's amazing how the Brazilian Northeastern backdrops fit the plot perfectly. The movie describes the economical changes - cattle ranchers taking over the decadent sugarcane farms - that happen in that region following the end of slavery in the late 19th century.

The actors are superb - particularly the splendid veteran Jose Dumont, who plays the father; it is hard to believe that only nine of them are professionals! The photography is strikingly beautiful.

It impress me the reactions regarding the casting of Rodrigo Santoro for the role of Tonho. Has anyone ever met an average 1910's sugarcane picker of Brazil's Northeast region???? I don't see the same reactions when a young and handsome Al Pacino is chosen to play Serpico, or when Julia Roberts is cast to play Erin Brokovitch. How many roles Tom Cruise or Brad Pitt would get if casting directors took such nonsense seriously? Well, for me Rodrigo Santoro was a pleasant surprise.

Just as a note, this film was not shot at the Pampas, as someone said. The semiarid region in the Northeast of Brazil is known as Sertão (and that vegetation is called Caatinga). The vast grassy and treeless plains known as Pampas - great for cattle, you will not find cactuses or sugar cane there - are located in the South of Brazil and go all the way to Central Argentina. Thousands of miles away from the arid Northeast.

I loved this movie!