O bandido da luz vermelha
Film Information:
Year:
1968
The Red Light Bandit
País:
Director:
Color:
B&W
Format:
35 mm
Duration:
92 min
Cast:
- Helena Ignez, Paulo Villaça, Pagano Sobrinho, Luiz Linhares, Hélio Aguiar
Production:
- GUIÓN: Rogério Sganzerla
- FOTOGRAFÍA: Peter Overbeck
- MONTAJE: Silvio Renoldi
- PRODUCCIÓN: Rogério Sganzerla, José da Costa Cordeiro,
- José Alberto Reis
Contact:
- Contacto / Contact
- Mercúrio Produçoes Ltda.
- Helena Ignez
- Rua Nestor Pestana, 87 -
- Conjunto 101 - Consolação
- 01303-010 Sao Paulo, Brazil
- T +55 11 3256 8676
- +55 11 3129 5745
- F +55 11 3256 8676
- E smercurioproducoes@gmail.com
Synopsis
Sganzerla’s first feature film sets new ground for blending aesthetics that one would never think of mixing together: Orson Welles, Pierrot le fou and the structure of sensationalist radio broadcastings of crime journalism. The first true example in Brazilian cinema of an art-pop film, The Red Light Bandit is to some extent the cinematic equivalent of the tropicalist movement in Brazilian pop music (Caetano Veloso, Gilberto Gil, Tom Ze): a logic of mixing high culture with scum, mass culture with more elitist art, tradition with avant-garde, in a cannibalistic strategy that seeks to devour everything that is other or foreign in order to make it its own. “Whoever wear shoes will not last,” says the deranged character-title of the film. This fixation on nearly prophetical, definitely charismatic figures might get Sganzerla a little bit closer to the work of Glauber Rocha. But, as it’s a combat film, The Red Light Bandit makes no friends: it’s against Brazilian politicians, against upper-class privileges and against the Cinema Novo, turned institutional by the time and growingly innocuous.