Linha de Passe (2008)

Too much of everything

Don't listen to the negative reviews

As Good As It Gets

Absolutely the worst movie.

In the periphery of São Paulo, the pregnant single mother Cleuza (Sandra Corveloni) works as maid in the apartment of a middle-class family. Each of her sons has a different unknown father: the oldest, Dênis (João Baldasserini), has a baby son that lives with his mother and he works as motorcycle courier; Dinho (José Geraldo Rodrigues) is Christian converted and works as attendant in a gas station; Dario (Vinícius de Oliveira) is an aspirant soccer player that is getting older without the expected chance in a team; and the youngest, Reginaldo (Kaique Jesus Santos), is obsessed to find his black father that works as a bus driver, and spends most of his spare time traveling by bus. Along the months, each brother experiences new deceptions and expectations while the family fights to survive."Linha de Passe" is an overrated tale about the invisible people that live in the periphery of big cities. The characters are very realistic, but the screenplay and the edition have many cuts, and the development of the characters is very confused in the beginning. The movie also uses unnecessary footages of the Corinthians soccer team that has the second largest legion of fans in Brazil after Flamengo, maybe with the intention of increasing the box office in São Paulo. The acting is top-notch and Vinícius de Oliveira is indeed a good soccer player. The inconclusive open end is deceptive – the writers could have written a non-corny conclusion, for the good or for the bad of the characters. My vote is six.Title (Brazil): "Linha de Passe"

I haven't many comments to add, but something I really noticed in this good movie is that Walter Salles got a lot of inspiration, specially camera takes and editing, by Alejandro G. Iñarritu, not to mention the instrumental background music. The tone of Salles movies remains focused in the hope and good heart of the poorest despite deep unfairness of Brazillian society. Unfortunately, we do not watch good actor Vinicius Oliveira acting more often. The "moto boys" were admirably portrayed as well as the church followers. By the way, Corinthians, the football team supported by The Mother indeed went to 2nd. division in real life, as she worried at the beginning of the movie.

More than a movie, Linha de Passe is a study about the moral and ethical dilemmas that young people from Brazilian suburbs of big cities face on a daily life. It is a film much more rich and complex than it seems. By the apparent simplicity and fragmented structure, should not have the same impact of the Brazilian Central and the Motorcycle Diaries, Walter Salles recent productions.The Cannes Film Festival confirmed the film to grant him the Golden Palm for best actress to Sandra Corvelloni, single mother of four children, maid and resident of Sao Paulo suburbs. The family, by leaps and bounds, struggling to survive in the metropolis. The oldest is Motorcycle courier, Dinho works in a gas station, Dario wants to be a soccer player and youngest Reginaldo, in brilliant interpretation, is obsessed by her father unknown.The script, written by Daniela Thomas, Bráulio Mantovani and George Moura, gives an account of five characters who have to kill a lion a day and are faced with ethical dilemmas at every turn, choosing between them to deliver anything goes or to remain in line.

Walter Salles's first Brazilian feature film since "Abril Despedaçado/Behind the Sun" (2001), "Linha de Passe" -- in which he shares direction credit with Daniela Thomas for the seventh time -- is a contemporary neo-realist essay that confirms Salles's humanist concerns. In these our times of cynicism, nihilism or downright pessimism, Salles's unbending belief in compassion, resilience and man's intrinsic goodness might seem naive or filled with Christian piety. But he's no preaching Pollyanna: he looks up to the great humanist filmmakers (Renoir and Rossellini on top) yet he never compromises in cheap schmaltz, happy-go-lucky naiveté or Hollywoodized feel-good endings.Inspired by the insightful TV documentaries co-directed by Walter's younger brother João Moreira Salles, "Futebol" (1998 - revealing some of the shady business/management practices in Brazilian professional soccer) and "Santa Cruz" (2000 - about the sweeping spread of Protestant cults in Brazil, especially among the poor), "Linha de Passe" takes the structure from Visconti's "Rocco and his Brothers" -- a mother raising four sons striving for dignity and a better life in a big, oppressive city -- and transposes it to an ugly, lumpen neighborhood (Cidade Líder) in the outskirts of São Paulo. The family is poor, not destitute: they belong to the working-class that's near-bottom but not quite. Forty-something house- cleaner Cleuza is pregnant with her fifth child (we never meet the fathers). Her four sons are teenagers Dinho, a gas station attendant who joins a Pentecostal cult in his search for purity of body and soul; sly Dênis, a motorcycle courier whose desperate need for money to help raise his baby son (he's separated from the boy's mother) and pay for his bike leads him to crime; closed-in Dario, who at 18 may already be too old to pursue his dream in professional soccer; and super-smart pre-teen Reginaldo, whose black skin makes him an outcast even in his own family, as he obsessively goes for bus rides in search of his unknown bus-driver father.The plot, structure and dialog may seem occasionally déjà vu, and the screenplay (by co-director Thomas and TV-writer George Moura, with "City of God"'s Bráulio Mantovani's "collaboration") doesn't quite succeed in developing the five individual stories with equal creativity and strength (Dinho's thread is the best, Dênis's the most contrived). Clichés surface whenever middle- and high-class characters are involved. And, as usual with Salles, water symbolisms abound: the rain, the soul-cleansing shower scene with Dinho and Dario, a baptism in the lake, culminating with a maddeningly obvious clogged sink, symbolizing the "clogged" lives of the characters.Despite all that, there's a LOT going for "Linha de Passe". The setting and locations are among the film's finest qualities: away from the over-explored favela environment and its usual combo of guns, drugs and violence, the film focuses on one often overlooked geographic and social landscape of Brazil's class structure. It's also a miracle of casting, from the right physiognomies (the five protagonists really look like they share DNAs) to the careful attention for accent-nailing, something very rare in Brazilian films (actors from different parts of Brazil speak with accents typical of São Paulo's periphery). Their performances are dazzling, especially when you consider that, excepting Vinícius de Oliveira (Dario), they're all feature film first-timers. Sandra Corveloni, surprise winner of 2008 Cannes Best Actress Award for her role, is the spine of the film as the weather-beaten, end-of- the-rope mother trying to hold her crumbling family together. The four boys are impressive, but José Geraldo Rodrigues is simply stunning as soul-searching Dinho: he's a seriously talented actor (it's also the best, richest role).Salles's tone is, as usual, melancholy but never maudlin; he's too classy to stoop to audience manipulation. He's found in D.P. Mauro Pinheiro ("Cinema Aspirinas e Urubus") the ideal cameraman for this film, away from the beautifying images that compromised parts of his other films -- the imagery here is dry, desolate, akin to some of the best recent South American movies by Lucrécia Martel, Pablo Trapero or Pablo Stoll. The emotional power comes out of staring at "real" people in real locations, in the best neo-realist tradition (the scenes at the soccer stadium are especially compelling). The carefully planned editing fully succeeds in keeping the 5 stories alive and interconnecting in fine rhythm. Gustavo Santaolalla's spellbinding, deceptively simple music proves once again that he -- more than any other contemporary film composer -- owns the secret key to open hearts and minds without ever sounding obtrusive, overblown or mawkish."Linha de Passe" wisely and democratically offers "open" denouements for each character's thread: it's OUR job to come up with the conclusions, and they'll depend on our (in)ability to believe there's still light at the end of the tunnel (for some of the characters, at least). But Salles+Thomas's affirmative position comes clearly in the shape of the closing credits' song: the classic samba "Juízo Final" by Nelson Cavaquinho ("The sun will shine once more/ Light will reach the hearts/ The seed of evil will burn out"). It's the same song that we heard at the closing credits of Jorge Durán's moving humanist manifesto "Proibido Proibir" (2007). It's no "coincidence": the song is there, as it was in Durán's film, because -- if we're ANY human -- we leave the theater feeling that, unlike the tons of junk movies which desensitize us in the name of "entertainment", we've just seen a film that ACTUALLY has urgent, important things to say. And says it sensitively, insightfully, poignantly.