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Bye Bye Brazil
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Directed by Carlos Diegues
Bye Bye Brazil, the gifted director Carlos Diegues' follow-up to his 1978 Xica da Silva, became one of the most popular and fiscally successful imports of late '70s and early '80s South American cinema. Bye Bye is a muted and low-key ensemble drama about a shabby circus crawling from small town to small town through the Brazilian backwaters. As the curtain rises before us, the circus claims three participants: the slightly scary, medicine-show-like leader, Lorde Cigano (Jose Wilker), who sports a carnival-like 19th century mustache and cape, and keeps the audience mesmerized with magic tricks; the erotically charged, raven-haired dancer Salome (Betty Faria), "Queen of the Rumba"; and the deaf-mute strongman Swallow, who doubles as a fire breather. The troupe quickly adds yet another member shortly after the story begins: the strapping young accordion player Cico (Fabio Junior). He signs on with the circus when he catches sight of Salome, and is thus lost to his expectant wife, Dasdo (Zaira Zambelli) forever -- despite his obligation to cart the missus along with the troupe. The preponderance of the drama explores the shifting relationships between the circus members over the course of their journeys; it also reveals how endangered the troupe has become, both by the inability of locals to pay (the performers accept melons and other edible goods as recompense) and by competing entertainments such as television. These endangerments will ultimately force Cigano and co. beyond desperation -- to the point of ending the circus altogether and prostituting out Salome and Dasdo, just to turn a buck. ~ Nathan Southern, All Movie Guide
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"Traveling carnivals are a personal bias. I love movies about them. When I found out that this is a Cinema Novo film about a traveling carnival, of course I wanted to see it. This movie realized a tragic loss of old traditions in the face of the modern world. I now have a sense of urgency to see a real carnival before they disappear. A carnival troupe captivates one young man, who lusts after beautiful aged Salome. Although he has an impregnated wife, he begs to join the troupe. Only when they " [More]
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Review by All Movie Guide
All Movie Guide
is neutral about it.
Carlos Diegues' Bye Bye Brazil catches the viewer off guard with its low-key minimalism. For a feature that ostensibly recounts the adventures and spectacles of a traveling circus, Brazil feels so slight, so offhanded and underplayed -- and so muted in terms of its aesthetic palette (it recalls the literature of Carlo Levi) -- that the viewer must consciously restrict and reorient his or her focus to the character level. Such does not necessarily represent a weakness: Diegues' decision to bask in the inter-dynamics of the circus troupe members is certainly valid. He handles the nuances of their shifting relationships deftly and satisfactorily (albeit with no great profundity). Far more satisfying, for the viewer, are Diegues' gossamery and nonchalant gags; one highlight has Lord Cigano pulling a magic trick by making it "snow" in the audience -- the Brazilian spectators, who have never run into below-zero conditions, struggle to squeeze it into their limited indigenous framework, and one finally remarks, in desperation, "Huh...Looks like grated coconut." Another hysterical moment (one of the film's rare sight gags) has some 3,000 small-town Brazilian spectators seated, like a movie crowd, before the first television set of their lives -- with a 12-inch screen. These gags, while immensely satisfying and enjoyable, do not weaken the picture, though they cut against the grain of its central overtone, which is the opposite of over-the-top and gag-laden. Bye Bye Brazil waxes elegiac, tearful, and slightly haunting -- like a middle-pitched, protracted valedictory wail. ~ Nathan Southern, All Movie Guide
 

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