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Saturday
可能 02 2020

1981年:马里利亚·佩拉在“Pixote”

Please welcome new contributor Nick Taylor who is providing us with extra Supporting Actress pleasure inbetween theSmackdown events

How close was Hector Babenco’sPixote到1980年奥斯卡奖最佳外语片?或者说,为什么却取消资格?在巴西已经称赞该国唯一的孩子犯罪的疫情,并从中受益的机构坚定不移地,纪录片式的描写,影片得到了被砍做外学院的分配的时间范围试映。这声音是“必要的”因为他们的许多合格挑剔的。考虑取消资格1980年,Pixotebecame fair game upon its U.S. release in 1981, winning most of the critics prizes for Best Foreign Language Film and scoring a Golden Globe nomination over Oscar’s eventual winner, Hungary'sMephisto

Pixotealso won Best Film from Boston, who took a page from the National Society of Film Critics and gave Marília Pêra their Best Actress award. And while her performance absolutely deserved those prizes...

。..Pêra is only featured in the final half hour ofPixote。她扮演一个叫苏的被压迫的性工作者who Pixote and his two allies have been charged with pimping out and robbing her johns. She's only the latest in a daisy-chain of unreliable criminals and abusive authority figures who house Pixote and his friends while using them for their own ends. But Sueli’s dynamics with each kid and how it impacts their loyalty to each other is the most complicated of any adult we meet. These interactions are unique as scripted and become even more provocative through Pera’s intelligent playing. There’s something refreshing about a part this small winning in a leading category, but even considering how foregrounded she is, I’d be hard pressed to agree with these groups categorizing her as a lead. The New York Film Critics Circle named her runner-up for Supporting Actress instead.


It’s a tribute to Babenco’s tough, clear-eyed direction thatPixote的合奏非职业小演员和明星的老将能够如此据信是互动在屏幕上。这部电影的新现实主义的审美也不会工作,如果其投不能等项目集中,配合个性,左右charismatically握持相机的兴趣,而不总是似乎做多。费尔南多·拉莫斯·达席尔瓦在名义的角色工作中的峰值Pixote的才华的演员,体现了已经硬化的犯罪,同时还在寻找,形成与他人实时连接。对于所有他的暴力,绝望的行动,有不成熟到Pixote,一个充满童趣的感觉,从来没有完全离开他,尽管他的痛苦。

For her part, Pêra seizes on the complexities already present in her character rather than coarsening the material for the sake of crude misery, giving Sueli a full arc where one wasn’t explicitly asked for. Pêra shows an uncanny knack for visibly externalizing Sueli’s thoughts and emotions without disrupting电影的自然,经常同时传送多个音调。这是更加令人称奇的许多夸张元素的字符零件本身较小的女演员可能会误以为 - 她的职业,她的年龄,她的酗酒,她的悲伤,她与孩子的关系,她最近的创伤与她以前的皮条客和过去多年性工作的滥用。她与Pixote第一个场景是几乎所有这些元素的雷区,因为她坐在一个血丝厕所旁边的一个铁桶里面装着她的流产胎儿,并要求他留下她一个人。Sueli在这一幕愤怒恐吓,但Pêra的理由这话一出口如何疲惫和不适,她是,她的不公平感被抛弃,猛回去工作一起谁也不能管闲事儿了。作为有力的,因为她是,她看起来像她撑不住自己正直,Pixote检测到这种尽可能清楚我们做的。

This scene appears to set her up as a wounded, even tragic figure the kids must care for while working for her. In fact, Sueli winds up bonding pretty quickly with her new companions, with Pêra adding a welcome levity that never undermines how badly she’s doing. None of the actors waste time making obvious markers of when Sueli starts bonding with Pixote and Dito, while Lilica begins to withdraw. After finishing their first job together, Sueli is already leaning towards Pixote to ask about their companions like old friends catching up on hot gossip. Another job goes without a hitch and she’s dancing with Dito under the headlights of a car they stole. Unlike the tense, unforgiving control exhibited by the other adults who’ve looked after them, Sueli’s rapport resembles the sincerity and openness the kids show each other. She feels like part of the gang, rather than their boss.



And then, everything falls apart. One kid leaves to find better options elsewhere. The other dies unexpectedly, in a scene made all the more stomach-churning because we aren’t immediately sure if they were killed. Pixote and Sueli are alone, wrecked by what happened and trying to figure out where they can possibly go. Their panic leads to an unexpectedly tender act of maternal comfort, where Sueli is bothered by either the scale of Pixote’s needs or her own capacity to meet them and rejects him so totally he practically shrinks. Pêra makes this rebuke physically and vocally overwhelming to bear, but she refuses to be gratuitously cruel or to retroactively write off their relationship as an act. Sueli is clearly as desperate for human companionship as Pixote, but is either unable or unwilling to solidify their bond when it’s most explicitly needed. Her declaration that she hates children, loaded with so much implication in context of what we’ve seen, becomes sadder and more suggestive of a life beyond the narrative through Pêra’s broken, agonized delivery.

Pixoteexcels at engendering our sympathy for conventionally unlikeable characters, but Pêra goes the farthest to interlink her character’s disparate emotions so tightly that she’s never expressing just one feeling or one idea about herself, especially to the audience. Our last sight of Sueli watching Pixote leave her room while frozen in near darkness, is a sharp contrast from his own ending, as he walks along train tracks stretching beyond the sunny horizon with an unexpected lightness in his step. Implying Pixote will keep moving forward is likely as close to a hopeful conclusion as we could possibly get. Perhaps it’s too much to wish things will turn out alright for Sueli as well, but it’s through Pêra’s authentic performance we care about her as much as Pixote.

Related:
杰西卡·哈珀Pennies From Heaven
Coming Soon: The 1981 Smackdown




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Reader Comments (1)

That for this write up. This film is so incredible.

2020年5月2日|未注册的批评家Marshako

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