Pixote: A Lei do Mais Fraco (Pixote) (Pixote, the Law of the Weakest) Reviews
Verdict: 95/100 - As graphic and disheartening as they come. Fernando Silvas still shows that against many odds of his lifestyle you can have hope, dreams and actually live. May he rest in peace.
This tale weaves seemlessly from the corrupt and deplorable adolecant penitentiaries to the lively beaches to the dingy slums taking the viewer on a realistic and captivating journey across the fragmented and topsy turvy world of Brazilian culture and society.
Hector Babenco's visionary masterpeice incorperates gorgeous cinematography with inovative camera work to fully excentuate the well scouted and thought provoking settings he chooses to place his free willed characters. The acting is so sublime that it raises the fine line of reality and fiction in every scene and solidifies his intentions and message in an instantaneous fashion.
Pixote is one of the most historically important films in world cinema and is a must see for anyone who desires depth and meaning in the films they see. Flawless in every capacity from start to finish, as close to perfect as you will ever see in a film.
[font=Arial][color=black][i]Pixote[/i], in a way is more closely related to Truffaut's [i]400 Blows[/i] than [i]City of God[/i]. In 1981, Hector Babenco's effort to bring the issue of 3 million homeless children in the streets of Sao Paulo, Brazil to a wider audience. The story traces the life of a ten year old boy, Pixote, who escapes a reform school (that seems more like prison), and from there tries to survive with three other friends on the streets. Watching this film today, after seeing [i]City of God[/i], definately had an effect on my reception of it because it approaches the issue in a completely different aesthetic than Fernando Meirelles and Katia Lund. [i]City of God[/i], thanks primarily to technical innovations in the medium, brings its point across much more harshly and I would argue less effectively than [i]Pixote[/i], but the former seems to stress a viewer response to the social issue more so the latter. [/color][/font]
[font=Arial][color=black][i]City of God[/i] disconnects itself from the audience at some point; its flashy and stylized, the violence is brutal and the soundtrack is fantastic. This then pushes it into a category of stylized violent films that approach less important issues than poverty and choas of Brazilian children's lives, and concludes on a more uplifting note than [i]Pixote[/i]. Indeed, [i]City of God[/i] then is bound to appeal to a wider audience, such as the males which cling to the presentation of the message in [i]Fight Club[/i].[/color][/font]
[font=Arial][color=black]In the end, both films, for different reasons acheive their goal by moving the viewer internally, but fail to take those internal effects and turn them into action and response. Maybe this isn't the point of [i]City of God[/i], but it sure seems to be the point of [i]Pixote[/i], as before the film begins we are briefed on the horrible status of Brazilian children by Babenco.[/color][/font]
[font=Arial][color=black]See them both, on the same night if you have the time, and you won't regret it.[/color][/font]