Troupe d'élite

My first brazilian film. Intense, hectic, critical and lots of strong violent actions. first act: ok, second act: good, third act: Grandioso! 👍

ELITE SQUAD is another top-notch Brazilian thriller following in the footsteps of CITY OF GOD (the two films share a writer, I believe). Although the storyline is completely different, the two films share plenty of stylistic similarities: the gritty, on-the-streets style filming, the realism, the multi-layered storytelling, the realistic and sympathetic characters, the hectic pace.

Needless to say that this is an excellent film that offers a thorough exploration of policing in Brazil and all of the violence and corruption that comes with it. ELITE SQUAD does tackle the menace of drug gangs and the like but that's not the sole focus here; instead we learn of the everyday corruption present in all aspects of the police force. The dialogue crackles with electricity and the performances are exemplary, particularly from Andre Ramiro, who plays my favourite character, a naive law student drawn into a dark and murky world.

Fizzing with energy and loaded with brutal violence, ELITE SQUAD is as good as it gets for a contemporary thriller and it's also one of those films that educates as well as entertains. Be warned, it pulls no punches. A sequel, ELITE SQUAD: THE ENEMY WITHIN follows, and inevitably I have to track it down.

When the "favela reality" movies seem to be running out of 'ideas' - trying to profit by copying the acclaimed "City of God" over and over -, director José Padilha (of the equally engrossing documentary "Bus 174") brings us "Tropa de Elite" ("Elite Squad"), the most controversial Brazilian film in a long time, having sold millions of pirated DVD copies even before its theatrical release (and still managed to become the biggest Brazilian movie event of 2007).

"Elite Squad" shows the routine of a group of cops in Rio de Janeiro, and the inhumane training they have to go through in order to become a BOPE (Special Police Operation Battalion) captain, the policemen who are supposed to fight drug trafficking, in the rawest possible way. Wagner Moura ("God Is Brazilian"), one of the most versatile Brazilian actors of his generation, delivers a bravura performance as Captain Nascimento, who wants to quit his job in order to dedicate himself to his newly-born son, but has an important mission before that: finding the right replacement.

"Elite Squad" is not as stylized or visually compelling as Fernando Meirelles/Kátia Lund's "City of God" (the comparison is inevitable), but that's not a flaw. The movie is violent but realistic, far from sheer Hollywood gore-fest (i.e. Scorsese's over-hyped "The Departed"), and offers some extremely provocative discussions about Brazil's social chaos - and also a disarmingly blunt, love it or hate it narration. Surprise winner of the Golden Bear at the 2008 Berlin Film Festival (competing with other strong titles, including Paul Thomas Anderson's brilliant "There Will Be Blood"), "Elite Squad" is a must-see. 10/10.

"Tropa de Elite" isn't merely one more Brazilian film on urban violence; it's a cathartic socio-cultural phenomenon of almost unprecedented proportions in Brazil, the omnipresent theme on TV talk shows, newspapers articles, bars and dinner tables. Prior to its theatrical release this October, "Tropa" was seen by an estimated record 11 million people who bought pirate DVD copies or illegally downloaded it on the net (the biggest Brazilian box-office success in the last 25 years was "2 Filhos de Francisco" with 5,5 million tickets sold).

The reaction is passionately polarized: some call it the best Brazilian movie since "City of God" -- a definite influence here, in the cinematography, editing and screenplay structure, with an omniscient narrator and use of mixed chronology -- exposing the endemic corruption of Rio de Janeiro's police force and the "unorthodox" methods used by BOPE (the self-called "incorruptible" elite squad of Rio's military police force, created in 1978 and inspired by the U.S. SWAT) that include torture and shoot-first-ask-later modus operandi in the ultra-violent, ever-growing drug war in Rio's favelas. Others have publicly attacked it as fascist in its glorification of BOPE, its sadistic depiction of torture and the reductionist, simple-minded vision of the complex issues involving violence/ drugs/police corruption in Rio.

Director José Padilha and co-writer Rodrigo Pimentel (a former BOPE captain who left the squad for disagreeing with its praxis) had collaborated in the extraordinary "Bus 174", a multi-faceted documentary on Rio's violence. In "Tropa", they controversially chose to give us a deliberately biased vision of the problem: from the start we're stuck with one man, the overstressed, rebellious, self-righteous Capt Nascimento (Wagner Moura) in his journey into becoming a psychopathic sadist and hot-blooded killer, who believes drug traffic is caused by the druggie middle-class bourgeoisie (as if the poor didn't do drugs!) and claims the solution is to kill all traffickers. To Nascimento, corruption is abominable; torture isn't.

Nascimento is the film's absolute protagonist, narrator, commentator and "truth-puker". In his mind, all non-elite policemen are corrupt and incompetent, all charity NGOs in the favelas are cover-up fraudulent enterprises, all college students are useless double-faced potheads, and legal procedures are an inefficient waste of time. He's nearer to the traffickers' violent, revenge-based, lawless ethics than he's ever able to realize.

"There's nothing wrong with shooting people if you shoot the right people", used to say Clint Eastwood's Dirty Harry back in the 1970s, and it could well be Capt. Nascimento's motto. He's a vigilante in uniform, in the tradition of the executioners played by Eastwood, Bronson, Stallone and 24 Hours' Jack Bauer; he's the heir to the 1970s' Brazilian military regime know-how on torture. Yet, the film tries hard at "humanizing" Nascimento: his wife's pregnant, his marriage falters, he's moved to tears by the suffering of a mother who lost her son in the traffic war, he's in medication for his panic attacks. AND he's trying to save the POPE's life, no less!

All the other characters are just rough sketches or caricatures. The one character who might be the classical "narrator/observer" (like Buscapé/Rocket in "City of God") is the idealist, Foucault-reading aspiring police officer Mathias (though it's hard to believe an aspiring officer could afford to attend Rio's most expensive law school). But Mathias, too, is finally co-opted by the brainwashing "Full-Metal-Jacket"-like BOPE training that changes him into an amoral beast fueled with rage.

Padilha says he wanted to portray Nascimento as a monster, and that audiences who are hailing Nascimento as a "hero" and BOPE as a "model" institution have caught him by surprise -- oh, really? Padilha is probably being sarcastic, naive or silly: everybody knows movie vigilante cops have been consistently idolized the world over (and co- writer Pimentel has publicly disagreed, stating the "Tropa" is clearly pro-BOPE). The graphic, sadistic scenes of torture -- supposedly meant to inspire disgust -- make the delight of a large vigilante-minded part of the audience. And Wagner Moura's extraordinary, scary performance as Nascimento is unsettling: we can't dismiss him as a stupid fascist the way we dismissed inarticulate stiffs like Bronson, Seagal or Stallone. The fact is that there's now a BOPE cult-following, with BOPE's logo (a skull pierced by pistols and knives) reproduced on t-shirts and underwear, BOPE officers being cheered in the streets in their armored "glory", and young kids (from all social classes) mimicking the film's "bag-in-the-head torture" as a new bullying style.

Militarists and pacifists will hardly change sides after the watching the film; militarists will have multiple orgasms and pacifists will cringe in horror. The filmmakers aren't interested in seriously discussing the drug issue (legalization is not even mentioned as an option). Nor in exposing Rio's drug traffic's multi-fingered interconnections, the zillion-dollar, highly organized international business involving farmers, money-washing executives, chemistry labs, gun-runners, bankers, politicians, accountants, lawyers, transport systems, etc. Nor in showing the real victims: the majority of the favela inhabitants, who aren't involved in the drug business but have to live under its rules, mere "extras" whose fate (in movies and in real life) is to be used, humiliated, segregated or, worse, wounded/killed by random bullets from BOTH policemen and traffickers.

"Tropa" is a must-see film, but it's misleading and entrapping: by opting for an "open", "what would YOU do?" ending (probably influenced by the breathtaking finale of "Paradise Now"), the filmmakers demands us to take sides about a very, VERY complex issue they've shown us only ONE angle of. "Tropa" is cinematically dazzling, but so physically and ideologically nauseating you'll need an antidote -- be sure to also watch the faceted, influential documentary "Notícias de uma Guerra Particular" and be aware of many other angles to a terrible reality that plagues not only Rio, but most of Third World's chaotic, no-man's-land, way out-of- control big cities.

Tropa de Elite is an amazingly good film; by turns brutally real and horrifyingly hilarious.

It claims to be based on a true story and I find that sadly believable. The main plot revolves around the captain of an elite police unit trying to find a replacement for himself, while dealing with the birth of his child and the horrendous stress of his job, and a mission to clear out a dangerously violent slum.

There are no wholly good people in the movie, and it's frighteningly easy to compare some of what goes on to things happening in the USA (and other places) today. That said, the system of government and policing portrayed comes across as so amazingly inept and awful that it's almost like something straight out of a nightmarish sci-fi dystopia.

If I had to compare it to other movies, it comes off as a cross between Brazil, Office Space, and Full Metal Jacket. Not for the weak of stomach, and you may find yourself greatly disagreeing with the ideals of various groups portrayed (which I believe is part of the point), but I would be enormously surprised if this movie doesn't make you think and give you something to talk about.