CITY OF GOD

Film Review

****

When examining the cinema of Brazil, one of the things that may come to viewers’ minds is the criticism of the country’s political and societal structure. City of God is greatly reminiscent of these ideas from both a stylistic and aesthetic standpoint. The portrayal of violent slums near Rio de Janeiro strongly depicts an atmosphere of an imperfect society which not only displays itself in an artistic way, but also gives the audience a sense of sympathy towards the main characters of the film. Due to director Fernando Meirelles’s exposure to the landscape of the inner cities of Brazil, it can be inferred that this film was largely reflective of similar experiences of his own. Unlike most films of the gangster genre, Meirelles was able to present the audience with a society which focused more on the daily struggle of territorial power rather than showcasing a false sense of glamour or escapist power within it. One of the most unique aspects of this film is the way the narrative presents everything in a non-sequential order, leaving the audience in constant anticipation. City of God’s creative screenplay and proficient film elements are what make this film the perfect balance between art and entertainment.

Lighting

                The most aesthetic display that Meirelles was able to utilize was the type of lighting used throughout the film. It can be seen that the daytime scenes were excessively lit in situations where crime was committed in public. An example of this was seen when the oil truck was attacked by the teenage gang. The high amount of sunlight in the scene made it seem as though these types of events represented nothing more than an ordinary day for the citizens of the inner city slums. In contrast to the daytime scenes, the nighttime sequences portrayed very dim lighting which provided the audience with a sense fear and uncertainty. Specifically, the presence of darkness in the scene of “Knockout” Ned’s house expressed a sense of unpredictability which made it easy for viewers to foreshadow how his character would later evolve in the film.

Director’s background and vision for the film

                Fernando Meirelles’s association with O2 Filmes may be why City of God was able to grab a strong hold of the audience’s interest. O2 Filmes, at the time, was one of the biggest production companies that largely revolved around advertisement in Brazil. It can be seen that Meirelles’s prior experiences of making products appeal to the public through a film-based channel was the prime factor behind getting viewers to empathize with the situations occurring in the film. Along with his professional experiences, Meirelles’s childhood familiarities with Sao Paulo, Brazil may have also contributed in his ideas behind the urban-oriented story. Meirelles’s work has been known to surround the everyday struggles of poor citizens. One of the films that greatly emphasized this theme was his 2001 film called Maids. This film also explored the subject of poverty, but through a slightly different lens.  

Screenplay and Film Elements

                Throughout City of God, the phenomenal display of a slum-like environment was greatly ignited by the use of specific film elements.  Perhaps the most underrated factor behind the realism of this film was the presence of silence in emotional situations. An example of this was shown in the scene where one of the new recruits in Lil Ze’s gang was ordered to shoot and kill two children. The combination of the actors’ expressions along with a sequence of silence was able to make the audience emotionally sympathize with the events occurring in the scene. One of the most unique aspects of this film was the way voyeuristic angles were used to show intense scenes of violence. The use of the steady-cam in the final gunfight gave the viewers a feeling of uneasiness which was reminiscent of the characters emotions. Another strong use of angles was used in the scenes where Lil Ze would be shown as an unattractive and power-hungry brute. This was especially noticeable in the nightclub scene when he asked a girl to dance. The high-angled use of the camera perfected in showing his insecurity with himself.

Story and Editing

                Perhaps the strongest attribute behind this film was its complex plot. The most appealing factor applied in the narrative of this film was the use of the flashback. Fernando Meirelles creatively began the film with the highest action-packed scene and quickly implemented the flashback to show the audience what the reason was behind the occurrence of the intense violence. Another proficient use of the flashback was shown in the scene where it was revealed that Lil Dice was the one who shot up the people in the hotel. The unexplained shootings provided a feeling of anticipation which was later fulfilled by an astonishing revelation. The sense of clarity in the script was reinforced by the frequent captions which enhanced the transitioning and made it easier for the audience to understand that the setting has changed. This was shown throughout each era of gangsters ruling over the city. With a creative style of narration, City of God was able to captivate audiences with an entertaining and realistic portrayal of the dangerous environment surrounding the country of Brazil.

Level of Appeal Across Audiences

                Unlike most films, City of God has the ability to translate into all cultures across the world. The emotional appeal of the film gives the viewers a sense of universal relation which is essential to reach a wide variety of people. The story and film elements successfully redefine the way Brazilian society is viewed by individuals.

                Based on the film’s exquisite narrative along with its effective film elements, City of God proves to be an artistic and entertaining experience for audiences everywhere.

Genre of the film

                The genre of gangster films is nothing new to world cinema. However, the approach that City of God takes is far different from the traditional crime drama. This film is strongly influenced by a message geared towards society which was movingly efficient in giving the audience a feeling of sympathy and awareness towards the economic and political turmoil in specific parts of the region. Instead of expressing the glamour behind the life of the underworld (as many filmmakers have repeatedly tried to romanticize), Fernando Meirelles utilized a down-to-earth method in providing entertainment. Unlike the traditional popcorn film, this film preached a message through the use of an emotional appeal was heightened by its strong use of film elements that expressed the characters’ state of mind effectively.

                As an overall film, City of God explores the idea of a society in political turmoil which leaves its people in a state of desperation. The portrayal of a lack of morality amongst the gangsters was realistically presented by the actors’ performances along with specific film elements such as voyeuristic angles that excelled in providing a universally emotive appeal. The events occurring in the film were touching to the heart of the audience. Meirelles’s deviation from the typical crime drama proved to be an effective approach in the script of this film. Due to a strong collaboration between the film’s storyline and film techniques, along with the film’s ability to appeal to a universal audience I give City of God 4 out of 5 stars.