Sunday, March 23, 2008

City of Men: Review


In City of Men, the sequel of sorts to Fernando Meirelles' 2003 City of God but actually a continuation of the Brazillian television series of the same name, Paulo Morelli abandons much of the delirious energy of Meirelles' masterpiece in favor of a more straightforward story of two young men struggling to live their day to day lives. In the end, the results are compelling viewing, and while not as successful as its predecessor, it is a welcome relief that it stands up to the toughest criticism as a valuable continuation of the series. Based in the slums of scenic Rio de Janeiro, Morelli's film is a moving look into the lives of the poorest areas of life that warrants at least one viewing.

Where Meirelles' film told the story of the rise and fall of one crime syndicate over the course of thirty some odd years, Morelli's ambitions are more reigned in. City of Men focuses on two 18 year olds, Acerola (Douglas Silva) and Laranjinha (Darlan Cunha) and their longtime friendship. Careful viewers will recognize both actors from their small but moving roles in
City of God. While there are a number of side plots, the primary storyline here revolves around the duo's struggles to retain their friendship while a violent drug war erupts around them, pitting opposing factions against one another. During the film's 110 minute run time, they try to keep each other safe while coming into their own manhoods. Ace has a young son he is forced to care for while his wife leaves Rio in order to find work. Laranjinha attempts to find his real father and upon his discovery, tries to forge a relationship with him, one that suddenly faces serious odds with a reveal about half way through the film. Ultimately, Morelli is interested in presenting these two teenagers journey into adulthood, with all its fears and dangers.

Those familiar with
City of God will feel right at home here as City of Men shares a similar look and feel. It may not feature the frantic camera moves and chaotic mise-en-scene of God, but the coloring and overall look is pretty similar. However, what Morelli borrows visually, he moves apart in his storytelling, as I mentioned above. Where Meirelles' film is constantly jumping from character to character, from storyline to storyline until it paints a larger picture of a city in decline, Morelli's film is much more personal, concentrating on the human elements involved here. Ace and Laranjinha get the type of strict, in depth characterization that City of God's more expansive ambitions wouldn't allow. Whether it works better or not is up to the audience to decide. For this writer, it plays more of a generic coming of age tale, granted one with a great deal of heart. Ace and Laranjinha are both believable and three dimensional. As both strive to find what it means to be a real father, something neither had growing up, their lives and friendship become increasingly complicated. While its unclear at the film's end if either have discovered the true meaning of fatherhood, it appears that they have at least determined its importance.

Both Silva and Cunha are wonderful here, continuing their underrated work from the television series, which tracks the same characters through their teenage years. Silva is more memorable from
City of God as the young Lil' Dice, a character that would be difficult for any actor to outlive. However, Silva is tremendous and where Lil' Dice was a murderous psychopath, Ace is a loving and kind young man that harbors a certain level of naivety that was completely absent in his work in City of God. When compared, the two performances are as different as Warhol to Michelangelo but both showcase a young actor who displays a tremendous range for someone his age. Cunha is every bit his equal and if he wasn't given the full time to showcase himself as Steak and Fries in City of God, here he is able to stretch out and show his true prowess. His performance is truly exceptional and when combined with Silva's work, the two provide the film with warm heart and soul that keeps the audience interested and invested in the narrative's twists and turns. Given Morelli's decision to focus on a single, smaller scale relationship than City of God allowed, it is imperative that Silva and Cunha are up to task. Thankfully, they are.

City of God
was a kaleidoscopic view of life in Rio but one that was sharply focused and consistently moved forward. Very few moments of the film felt wasted or unneeded, almost as if Meirelles recognized that if he wanted to fully tell his expansive story, he needed to focus as much as possible on avoiding stagnant segments. City of Men, on the other hand, seems much less intent on the constant forward momentum and takes a little bit of time to get moving forward, which ultimately hurts the film. For those unfamiliar with the television series, the first third will feel meandering and unfocused at times, leaving the audience waiting for the emotional connection to kick in. However, for those who have followed these boys over the course of the show's 20 episode run, the connection has already been made and the lack of a defined story is much less distracting. To alienate a portion of the audience though is a brave choice, one that hurts the film is you're not caught up with the story. It is by no means a killer, the film still works very well despite it but it does warrant noting.

City of Men may not be for all. Much like City of God, it displays an unattractive aspect of life, one filled with poverty and daily struggle. However, unlike City of God, which displays a nearly hopeless situation, Men is not nearly as dark, suggesting that survival and escape is not as impossible as its predecessor suggested. While City of God was never nihilistic or inhumane, far from it as it overflows with an undeniable vibrancy, City of Men allows itself to invests itself with a sense of hope. For all its darkness, there are rays of light that shine through, illuminating the paths out for those willing to walk them. In that sense, City of Men brings to mind John Singleton's seminal Boyz N The Hood more so than anything else. It shares optimism in that, regardless of how hopeless a place or life may be, its never too late to turn it around and escape whatever troubles may be happening. In fact, it is not much of a stretch to view BoyzCity of Men as a sort of Brazilian Boyz N The Hood, even down to the theme of the importance of a strong father figure. It seems like the highest praise to compare this to Singleton's masterpiece, surely one of the best films of the 90's and it is. While it may not be entirely its cinematic equal, it is certainly a contender for its throne, and that will please all but the most jaded moviegoer.