The Fever (A Febre)


Justino stands guard.

(2019) Drama (Kimstim) Regis Myrupu, Rosa Peixoto, Johnathan Sodré, Edmildo Vaz Pimentel, Anunciata Teles Soares, Kaisaro Jussara Brito, Rodson Vasconcelos, Lourinelson Vladimir, Suzy Lopes, Erismar Fernandes Rodrigues, Dalvina Pinto Neves, Sandro Medeiros, Ricardo Risuenho, Silvia Pimenta, Josimar Marinho, Gabryelle Araujo Dos Santos. Directed by Maya Da-Rin

 

Under President Jair Bolsonaro, the Brazilian rainforest has endured a record deforestation that has displaced untold numbers of indigenous peoples living in the rainforest of the Amazon basin. As they move into more urban environments, their culture is in danger of being lost forever.

Justino (Myrupu) is one of those displaced people. A member of the Desana people whose native language is Tukano, he has lived for decades in Manaus, a massive port city on the Amazon where container ships stream in and out, leaving a sort of maze-like structure of cargo containers on concrete docks of the port. He is a security guard there, wearing a bulletproof vest and carrying a loaded gun, but mostly he stands watch, silent, his face expressionless.

He is called into the office of a doncescending HR manager who expresses condolences at his recent widowhood, but then upbraids him for being distracted on the job. He has reason to be, as well – his daughter Vanessa (Peixoto), a nurse in one of the understaffed Manaus hospitals, has been accepted to medical school and will soon be leaving for Brasilia, leaving her father alone in his tiny house on the edge of the rainforest.

The commute from the docks to his home is brutal, requiring two bus rides on which he often naps while standing up, followed by a long walk from the road to his house, where hammocks swing inside although he also has a more traditional bed. As news reports detail animal attacks in the city, he begins to come down with a mysterious fever, which leads to waking dreams that are terrifying and yet illustrate his lack of place in this world.

Da-Rin has both a marvelous visual and audio sense. The visuals have a lovely juxtaposition of light and shadow. In the cinematography of Barbara Alvarez, forest becomes city and city becomes forest. And hen there are the sounds; the clanking of the massive machines that lift the cargo containers from the ships onto the dock, and the natural sounds of insects, leaves rustling and the violence of the frequent rainstorms which become more expressive than the dialogue, which is kept to a minimum. Most of the actors here are given little to say.

And they don’t need to. Myrupu has a marvelously stoic face but he allows a half-smile to betray his bemusement, or his wry disgust. His voice is quiet, but he is eloquent in other ways. While supportive of his daughter going to college, there is a part of him that doesn’t look forward to the loneliness of her absence. He tells a story early on of a hunter who goes hunting despite the fact his family has all the food they need, and is taken by the monkeys of the forest to a land of dreams. And that’s where Justino has been taken, a place between the modern world and the natural one. He retains a foot in each.

He endures casual racism from a white co-worker (Vladimir) and chiding from his brother (Sodré), and brushes off the concerns of his daughter (“I’ll be fine,” he murmurs) even as his mysterious fever grows worse. The movie seems to be a metaphor for what we are losing when we wipe out the indigenous of a region. The United States did much the same thing and the loss of the culture of the aboriginal inhabitants of the country is incalculable. They still exist and retain parts of their culture, but the way of life they had is long gone and so are many of their stories and mythology. These are stories that we will never get back, and Brazil seems to be heading for the same fate. The destruction of the rainforest is an ecological issue, to be sure, but it is also a cultural one that sometimes gets overlooked in our rallying cries to save the rainforest.

REASONS TO SEE: Very straightforward and powerful. A rare look at the indigenous of the Amazon basin and how they cope with modern civilization. Myrupu gives a compelling performance.
REASONS TO AVOID: A little slow-paced for American sensibilities.
FAMILY VALUES: There is some minor profanity.
TRIVIAL PURSUIT: This is Da-Rin’s first narrative feature film; she has previously made documentaries including Lands and Margin, both of which have partially inspired this film.
CRITICAL MASS: As of 4/2/21: Rotten Tomatoes: 93% positive reviews; Metacritic: 84/100.
COMPARISON SHOPPING: Embrace of the Serpent
FINAL RATING: 8.5/10
NEXT:
Groomed

Kick-Ass


Kick-Ass

Kick-Ass and Hit Girl do what they do best.

(Lionsgate) Aaron Johnson, Chloe Grace Moretz, Nicolas Cage, Mark Strong, Christopher Mintz-Plasse, Lyndsy Fonseca, Omari Hardwick, Xander Berkeley, Craig Ferguson, Yancy Butler, Elizabeth McGovern, Garrett M. Brown, Clark Duke, Evan Peters, Kofi Natei. Directed by Matthew Vaughn

Everyone wants to become that which we most admire. We want to be heroic, rich, athletic, good-looking, shrewd or all of the above. We long to become the same type of person as our heroes. If our hero has superpowers, however, that becomes a bit dicey.

Dave Lizewski (Johnson) is a gawky, rail-thin high school student whose only power, as he himself admits, is to be invisible to girls, in particular Katie Deauxma (Fonseca) whom he is sweet on. His mom (McGovern) had a massive aneurysm at the breakfast table and died a couple of years earlier, leaving Dave and his somewhat oblivious dad (Brown) trying to make things work alone together. He hangs out with his fellow geeky friends Marty (Duke) and Todd (Peters) at the local comic book store slash cafe. The three of them are constantly being set upon by bullies and having their money and things taken from them.

Dave is fed up with this. He wonders why, with all the comic books in the world, nobody has actually attempted to be a costumed superhero (his friends respond “because he’d get his ass kicked in five minutes,” which seems accurate to me). Being fed up, he orders a wet suit that looks a bit like a superhero costume and decides to try out the lifestyle for himself.

His first attempt ends up horribly, with Dave ending up hospitalized. The silver lining on that cloud is that his nerve endings wind up “messed up,” allowing Dave to not feel pain as much as the rest of us do. That turns out to be very handy in his line of work. When Dave intercedes in a gang beating, the incident is captured on a phone cam and becomes an Internet sensation. When Dave is asked who he is, he responds “I’m Kick-Ass” and a legend is born.

What Dave doesn’t know is that there are a couple of costumed vigilantes who are actually out there. Damon Macready a.k.a. Big Daddy (Cage) is teaching his daughter Mindy a.k.a. Hit Girl (Moretz) to be a lethal combat machine. Damon has an issue with crime boss Frank D’Amico (Strong) who was indirectly responsible for the death of his wife and he intends to take him down, despite the objections of his ex-partner Marcus Williams (Hardwick) who worries about the effects of this on Mindy, whom he helped raise.

Through a set of coincidental circumstances, D’Amico gets his sights set on Kick-Ass who was present at a massacre of thugs by Hit Girl. The most unprepared superhero of all time is about to face unimaginable brutality; can he become the superhero he longs to be?

This isn’t your big daddy’s superhero film. This is a movie that is literally awash in cultural reference, so much so that you might wind up wondering if Quentin Tarantino has a hand in it (he doesn’t, but I suspect he finds this movie delightful). Director Matthew Vaughn, who made the criminally underrated Stardust as well as the ultracool crime drama Layer Cake, hits all the right notes here, from the many references to superhero movies from Spider-Man to Batman with stops at Men in Black and Mystery Men.

There are also some nice little subtexts, with Katie striking up a friendship with Dave because she thinks he’s gay, and much of the ass-kicking being done by 11-year-old Mindy, who has the mouth of a sailor and the moves of Jet Li; one of her first sequences is done to the timeless strains of the Dickies’ version of “The Banana Splits Theme Song.”

Now some, like Roger Ebert, have found the latter aspect reprehensible. Certainly Hit Girl is not meant to be a role model; it seemed to me that the filmmakers took special care to make sure she didn’t wind up that way. Was she put in mortal jeopardy? Yes she was, but I’m one of those folks who don’t think that should be taboo. After all, nobody said boo when two kids were menaced by a T-Rex in the original Jurassic Park and it is no less fantasy for a kid to be menaced by a hallway-full of machine gun-toting goombahs. However, it is true the violence is excessive and brutal in places and sensitive souls may find it to be too much.

That said, I found this to be a good deal of fun. While Moretz was a bit too cute in places, Cage and Johnson held up their end well and Strong is rapidly becoming one of the best villains in the business, his brutish D’Amico a far cry from the urbane Lord Blackwood in Sherlock Holmes but just as vicious and effective.

A special mention of Christopher Mintz-Plasse should be made. Although I don’t want to give away too much about his role as it is crucial to the plot, let me say I think he’s perfectly cast for the role and adds a good deal to the movie. He also nicely sets up a prospective sequel should the box office warrant it.

This is meant to be over-the-top and satirical, and those who find videogames to be too tame will probably have some fun with this. For the rest of us, check your inhibitions at the door, and try to keep in mind this is just a movie that’s not meant to be taken as a serious examination of societal woes. It’s a live action Looney Tune, and there’s certainly nothing wrong with the occasional anvil to the head.

REASONS TO GO: Stylized violence, a wicked sense of humor and an accurate portrayal of geekly sorts. Never afraid to go too over the top.

REASONS TO STAY: Chloe Moretz is a little too precious at times. One gets numbed to the brutality after awhile.

FAMILY VALUES: Let’s see, there’s lots of violence, some of it gory and gruesome; there’s some nudity and sexuality; there’s also some drug use. Hmmmmm….I’m thinking you might want to think twice before taking the kiddies to see this one.

TRIVIAL PURSUIT: Stan Lee makes a cameo in the movie as one of the people watching the news footage of Kick-Ass on television. Also, Nicolas Cage modeled his speech mannerisms as Big Daddy on Adam West of the television version of Batman.

HOME OR THEATER: Big, dumb, fun movies like this one need to be seen on a big screen with a raucous audience.

FINAL RATING: 6.5/10

TOMORROW: Amusement