Written by The film, directed by Fernando Meirelles, tells the story of life in the slums of Rio de Janeiro, in an area known as the Cidade De Deus, the City of God. Martin Scorsese seems to have a heavy influence on the direction of this picture, with many moments looking familiar to fans of the legendary American filmmaker. Cidade De Deus is most brilliant in that it combines directorial and editorial brilliance with a story that is almost second to none in recent times. The result is a powerful telling of life based around real-life events. Enjoy the film and discover by yourself.
All he wants to do is take pictures. Both films leave open ends, but Cidade De Deus feels closed. The at-the-same-time stylish and brutal visuals of Amores Perros are replaced by a grittier, more hands on approach to the subject. Yet he keeps getting swept up in the madness. Brazil, 1960s, City of God. Rocket has watched these two gain power for years, and he wants no part of it. But to regard this film in terms of what styles it repeats or nods it's hat to, is to be very ignorant.
This means that while the film leaves a lasting impact we are not left with the same inquisitiveness about the future for the characters that we meet in Amores Perros. Blood spilling is a rare sight, and the violence rests mostly, but not always, on choreography rather than in your face bloodshed. This technique is used heavily in the first twenty minutes of Cidade De Deus, with the freeze frame trick being used to introduce the story's main characters alongside the dialogue of narrator, Rocket. The story has parallels - the underlying ideas of gangsters, drugs and violence -, the direction is similar, and the story is told with narration, much like Ray Liotta's role in Scorsese's epic. However, it is not fair to consider this 'a Brazilian Goodfellas', as one critic has observed.
Yet he keeps getting swept up in the madness. In fact the violence in Cidade De Deus, even the apocalyptic ending, is not as raw and bloody as many will expect. Look only to the leaving-party scene in which strobe lighting is used to extraordinary effect, almost suffocating the story below a bombardment on the visual senses. But simply, Cidade De Deus is a perfect film for avid fans of cinematography, and those just in search of two hours of a bloody good story. It stars Alexandre Rodrigues, Matheus Nachtergaele, Leandro Firmino. The different scenarios of life that make up the wider-story are presented in Pulp Fiction style chapters, complete with on-screen titles for each different story component. Throughout the film one cannot help but watch a scene and think, 'I've seen that in Raging Bull, Goodfellas, or Casino', and this may make some look less favourably on the film's direction.
The direction is amazing, but not to disguise the story flaws, and the story is brilliant, but does not overwhelm directorial originality. Like it's predecessors, this is the latest film to come out of South America that indicates the emergence of major new talent in filmmaking. The final parts of the story focus on the battle within the Cidade De Deus between two different groups, when business and personal matters lead to an unavoidable confrontation. And what a confrontation it is, although details will not be given away here. As Raul Walsh said if you don't have a story you have nothing, and many flashy Hollywood films have fallen short in using 'ultra-modern' direction to disguise the fact that no substantial story exists underneath. The story covers all the facets of the life, charting the growth of several key members of the gangs from childhood through to young adulthood, with their transformation from young hoodlums to local drugs barons.
Whilst in Amores Perros the characters took precedent, in Cidade De Deus the location is as big a character as those who live there. The Tender Trio robs motels and gas trucks. Welcome to the City of God. Whether you consider this a good or bad thing is a matter for personal choice. In Books 15—18 Augustine traces the progress of the two cities through biblical and secular history. In Books 1—5 of The City of God, Augustine demonstrates that the prosperity of the state was not due to its adherence to the old polytheistic worship, since the Romans had suffered disasters long before the birth of Christianity.
Welcome to the City of God. Close ups, sweeping scene shots, freeze-and-zoom shots, and a frenzied handheld approach are all trademarks that will be recognisably traceable to Scorsese, having been used throughout his career. I cannot decide yet if I would consider this better than Amores Perros, but it is certainly not inferior. Only the true greats manage to cater to these two needs of cinema, and this is one that does. He causes violence and fear as he wipes out rival gangs without mercy. Cidade De Deus is essential viewing, and is cinema at its most brilliant.
The Tender Trio robs motels and gas trucks. Think of a crossover between the visual energy of the Matrix and the violence of the club scene in Bad Boys. Like Scorsese's Taxi Driver the violence is abhorrent, but admirable from a cinematic perspective. Many shots remind the viewer of Scorsese's narrative dialogue-camera relationship in Goodfellas, in which the camera was used to brilliant effect to highlight the main points in the script. Younger kids watch and learn well. Fernando Meirelles, has done a wonderfully hypnotic job of blending the old styles, and bringing them up to date with flashy and sometimes dangerously kinetic direction and editing.
In short, this is a superb achievement, and is easily one of the best films of the year, and of the decade so far. Younger kids watch and learn well. Augustine set out to answer this allegation at the request of his friend Marcellinus. As the official press synopsis says, Cidade De Deus is a character, but is a place not a person. In Books 6—10, Augustine argues that the worship of the Roman gods was not necessary in order to attain eternal blessing. City Of God Also Known As: Cidade de Deus is a Crime, Drama film directed by Fernando Meirelles and written by Bráulio Mantovani. Rocket has watched these two gain power for years, and he wants no part of it.