By Eva Paulino Bueno (auth.)
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Extra resources for Amácio Mazzaropi in the Film and Culture of Brazil: After Cinema Novo
Put in this family context and in terms of the game of metamorphoses, the narrative seems to be suggesting that the girl Izidoro’s wife has in her arms might not be his daughter, even though he calls her filha (daughter). In other words, the film suggests that while the hero goes out in the world, fights, and resists temptations, the “females” (human or canine) who stay home do not resist so much. The hidden text here implies that Izidoro’s identity is more complex than it might seem at first sight.
From Querino Neto’s words, we can infer that Brazil is not the one that Mazzaropi portrays in his films. And yet, if such is the case, why comment on it at all? Which Brazil is this, then, that connects with so many who go to see their reflection in Mazzaropi’s films? Even Querino Neto, apparently, feels connected enough to recognize his image, if only to reject it immediately. Of course, there is also the possibility that, to this day, spectators watch Mazzaropi’s films not just because they identify with the characters and the situations presented, but also to bear witness to themselves about their difference from the Caipira, their distance from the time they were like those Introduction ● 19 characters.
Arlindo is put in a cell with an effeminate man who wants the used doll he has bought for his daughter. Arlindo fights with this man and with a strong black man who wants to force him to give the doll to his cell companion. Finally, with the help of a group of shoeshiners, everything is clarified, the police arrest the criminals; Arlindo is set free. To acknowledge Arlindo’s help in capturing the gang, the police chief offers him a job as custodian. When Arlindo realizes that if he accepts his offer he would have to work every day, he refuses the job.