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Macunaíma / Jungle Freaks (1969)
Portuguese | Subtitles: English, Spanish and (separate) French .srt | 103 min | XviD 512x384 | 1123 kb/s vbr | 23.97 fps | B-VOP | 224 kb/s AC3 cbr | 1000 MB + 3% recovery record
Genre: Comedy/Fantasy | RS.com + ftp2share mirrors
Jungle Freaks The film is about a native Brazilian born fully grown, a dark black baby to a white mother and all white siblings. Macunaima faces the harsh reality of his color, as he picks out the scraps of a pig's entrails while his brothers eat the succulent flesh. He then finds a well which spurts water and turns him white; in a fantastically colorful sequence, Macunaima revels in his new color, as it changes his life and opens doors of opportunity to metropolitan Sao Paulo, where he meets a guerrilla assassin femme fatale with whom he bears a black child. She is killed, he seeks to avenge her death and realizes being white isn't all its cracked up to be. Despite its serious subject matter, Macunaima creates a carnivalesque atmosphere, light hearted wit and sexy mystique that defines Brazil
In the first part of the film, then, we see the black “baby” Macunaíma leading a leisurely existence in the Amazonian wilderness. Sucking his thumb, whining, and clutching his blanket, Macunaíma lives off his wiles (and the labor of others). He remains silent for his first six years, because, after all, there is nothing to complain about. When he does talk finally, it is to remind everyone about how lazy he feels. “Ai,’ he wails, “que preguiça!” (“Boy, am I whacked out!” ) Chief among his diversions is “playing” with his brother’s mistress—a sexy white woman whose magic “cigarettes” turn Macunaíma into a debonair Prince Charming. The sudden change from ragged black “baby’ to suave white hero (shown in alarming color on the screen) enhances Macunaíma’s sex appeal. Even his brother’s jealous rage isn't much of a constraint. The woman is finally sent away, reaffirming masculine control of at least that situation. Again the categories of race, sex, and age are humorously manipulated in a way that seems somewhat arbitrary to a U.S. viewer even though it makes satirical sense in Brazil.
The idyll ends with the coming of a great flood. Macunaíma survives by hoarding a private banana stash; his less fortunate irascible mother dies. Macunaíma, his two brothers Maanape and Jiguê, and the latter’s new woman are forced to migrate to the city. On the way they spot a gushing fountain, the waters of which turn Macunaíma white again, this time for good. Jiguê, also black, rushes to the spring but manages to wet only the soles of his feet and the palms of his hands. This is a sarcastic visual treatment of a popular legend explaining Negroid coloring (we have a similar folk tale). And the “miracle” leads to the scene’s punch line. By the time the third and oldest brother reaches the spring, it has dried up completely. He forgets his disappointment when Macunaíma reminds him, “You're already white. What if you turn black?”
This entire sequence may appear not only ridiculous but racist to a viewer here unaccustomed to the ironies and contradictions of racial mixtures in Brazil. It is hard to “prove” that the film has a critical attitude toward these racial stereotypes and prejudices. But its farcical tone. its more obvious critique of consumerism and capitalist development, and its sardonic treatment of Macunaíma as the white “hero” are evidence of the film’s generally critical stance vis-a-vis the dominant myths of contemporary Brazilian society. Although racial attitudes are not Joaquim Pedro’s main concern in this film, they are closely related to the other conventions he attacks.
Sexuality, urban violence, and financial empire-building are the main issues treated in the second part of the film. That part might be called “Hard and Soft Times in the City.” Macunaíma literally falls for a lovely urban guerrilla, Cí, who initiates him into the pleasures of conjugal life. Their sparsely furnished apartment features an elaborately decorated hammock strung just above a mattress. For even more fun. Cí is always the aggressor, both at home and in town, where she goes to “make war” as other housewives might go shopping. Macunaíma is both sexually and politically passive, reacting strongly only when Cí blows both herself and their black “baby” to smithereens with an ill-timed bomb. Her unfortunate and violent end might well be a comment on the fate of most resisters to the Brazilian dictatorship. And her relationship to Macunaíma represents an intentional reversal of conventional male-female roles. On a psychological level her aggressivity corresponds to a common male fantasy. Within the film, it contrasts sharply with Macunaíma’s essential lack of character and his preguiça or laziness. Like racial stereotypes and prejudices, sex roles in the film are blown-up to farcical proportions.
La película se inspira en una famosa novela de Mario de Andrade, fundador del "Movimiento Literario Modernista" de los años 2O y narra la historia y la metamorfosis de Macunaíma, el héroe perezoso y sin ningún carácter, que nace negro en el interior de Brasil. Emigra con sus hermanos hacia la gran ciudad en busca de un amuleto de la suerte, y en el camino se vuelve blanco. En la ciudad entablará una relación con una guerrillera urbana y un magnate capitalista.
El director logra una caricatura aguda de la condición humana y su satirización, provocando risas espontáneas cuándo se detiene en los absurdos del racismo, la personalidad de los indios y el modo en que las distintas clases sociales se devoran entre sí.
Macunaïma
Macunaíma, "héros sans caractère", évolue avec désinvolture à travers le pays en changeant de couleur - né noir d'une mère indienne, il devient blanc sous une pluie magique. Il rencontre des personnages mythologiques et des acteurs de luttes politiques urbaines, tels qu'une guerrillera et un grand patron transmuté en géant cannibale. Cette adaptation du roman classique de Mário de Andrade renouvelle l'esthétique du Cinéma Novo en mélangeant la parodie des "chanchadas" (comédies populaires des années 50) et l'expérimentation de l'avant-garde tropicaliste (parodie à son tour du kitsch et de l'optical art). À redécouvrir absolument.
Subscenes en français:
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