City of God (****)
review by Jon Waterman

In the 1960s, all Rocket wants is to be able to escape his hometown. Teenage hoodlums (including his older brother) run the streets. Thievery is seen as the only way to get money and thus get out of the destitute hellhole in which they live. In the 1970s, all Rocket wants is to be able to escape his hometown. Teenage and pre-teen hoodlums run the streets. Thievery and drugs are the best way to make a living and guns guard the territories previously established.

This is a gang film like no other. Based on historical events, "City of God" tells the story of how this Brasilian town transformed so quickly from a place where kids stole some money every once in a while to a place full of drug trafficking and full out gang wars.

No one in this cast of thousands had previous acting experience. The trick here is to find kids that resemble their real life counterparts in each stage of life, and then get them to give a good performance. It couldn't have been easy, but it was accomplished flawlessly. I can't think of a single character that didn't show amazing range or didn't convey their emotions in a subtle manner. To think that so many child actors could do their jobs correctly is astounding on it’s own. To think that they had never done this before adds more awe.

The screenplay, written by Bráulio Mantovani, could easily be seen as pretentious. It flows in a very postmodern fashion. It flashes back between the time periods. It starts one story then finishes it later after a few more stories have been told. The structure of the film reads very much like a novel. (And it is based on a novel by Paulo Lins.) The narration combines well with the natural dialogue and scene skipping. It leaves you in your seat, because you want to know more. At the same time, though, it lets you know what else you can expect to see before the end of the film.

The visual style is intriguing as well. In the hot locales, the scenes are given a very warm look. The frames are overpowered by deep oranges and yellows. Only towards the end does that start to change and for good reason. The look and feel of the images differ depending on the decade that's shown. The film looks as if it was bought in the 60s and 70s and used recently to make the movie (an effect that "Confessions of a Dangerous Mind" seemed to want to capture but couldn't). Also, within this classic film look are very contemporary camera moves and effects. They use the gimmicky "Matrix" revolving shot technique here. It's not used for parody and the cameras are not aided by computer support. The lack of fluidity in the gimmick shots mixed with the overall impression given off by the film almost makes their use of the effect unique. At the very least, it's well done. In all the cinematography by César Charlone looks astonishing.

Directors Fernando Meirelles and Kátia Lund give us a film full of incredible acting, a compelling script and beautiful visuals. What more could you ask for? See this movie as soon as you can.

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