Increasingly good movie in which dire military dictatorship between 1972 and 1974, with torture, stupidity, cruelty (and dreams of the youth) is interwined with events and dreams in Brazilian society in 1999 in Brazil. It is a movie about military state terrorism, about juvenile activists who dared risk their lives and health for a dream, but also about memory, about making the correct choices, accepting the consequence when does not make them, pardoning and forgiving. No one may be responsible for the wrongdoing of someone else, but
knowing what to do when facing it matters. It still matters when time goes by, choices are still up to be made. The script is sensistive and meaningful, acting is skilled and particularly César Mello has a remarkable performance, the torture scenes are harsh. It is hard not to feel yourself in the place of Miguel in jail, and of Juliana in New Year party.
2 Reviews
A great movie about opposed views with same goals
Rodrigo_Amaro20 January 2024
The near-brilliant "The Pastor and the Revolutionary" covers a thirty year period revolving the unusual friendship between a preacher (César Mello) and
a guerrilla militant (Johnny Massaro) when they are arrested during the military regime and considered as subversive figures. It's one of those stories
that go from the incomprehension of both parties that later evolves to a deeper bond as they realize how much in common they have and how their fight
for a better world have the same destination - despite one following the Bible and the other following the ideals of Marx.
However, José Eduardo Belmonte's film isn't centered on that main idea as we follow other characters 20-something years after their prison days facing torture and hardships. A third character is introduced to us in the final days of the 20th Century, a militant student (Julia Dalavia) who wants to find out the whereabouts of Miguel, the inprisoned revolutionary that later wrote a book about his experiences, and somehow his connection to her comes after her father, who recently killed himself and left an heritage of which she refuses time and again due to her social and student activism, completely opposed to the old ideals of the military regime.
As for the preacher, he became an idealist closer to Christ teachings and he refuses to follow the prosperity theology in order to make his church work bigger. He could make something greater than the small place he has but he doesn't and for good and valuable reasons. A man of great faith but also tormented with the ghosts from his past, even though he was wrongly arrested.
It's a very puzzling film with its countless flashbacks and flashforwards that makes it all too interesting as we investigate (like the student) the destiny of both men, specially Miguel/codename João as he becomes a sort of a mystery figure of which we only know after his book of memories. While the 1999 segments dance around between really great to near distracting as we follow too much of the young woman and her almost pointless idealism (I don't accept the whole thing about the heritage refusal, as someone close to her would benefit in that most needed time), the segments on the past are all amazingly done, specially the few moments Massaro and Mello share the screen. The dialogue is so clear and perfect when they talk about politics and the good fight to be fought that you don't need things to get explained. A little understanding on the preachings of Jesus and a little about Marx theories and you can get the full view on how close the two more contemporary men were despite one wanting peace and love while the other had to use arms.
Here's a film that proves that there's no such thing as the drainage of a theme or formulas. It's destined to become a great point of reference for viewers in understanding Brazil during dictatorship just as much as many other classics released from the late 1960's up until this one, and probably many more to come. If we're still debating those issues in society it's because there are stories to be told (this one was inspired by real events too).
It's a pity that it sort of slipped when it comes to release since it spent too much time with awards presentation on late 2022 - including the sad reception it got in Gramado with boos from a certain uncultured crowd on the red carpet - and then got an unnoticed 2023 release. A real pity since it's a very good film, great acted all the way (gotta love Johnny Massaro's commitment to a very physical role right after "Os Primeiros Soldados", also very demanding on him), and it made classical themes of mutual understanding and respect in an effective, reflective and presentable manner, the latter as it escapes a little from the usual violence of similar themed works. An authentic quality work all the way. 9/10.
However, José Eduardo Belmonte's film isn't centered on that main idea as we follow other characters 20-something years after their prison days facing torture and hardships. A third character is introduced to us in the final days of the 20th Century, a militant student (Julia Dalavia) who wants to find out the whereabouts of Miguel, the inprisoned revolutionary that later wrote a book about his experiences, and somehow his connection to her comes after her father, who recently killed himself and left an heritage of which she refuses time and again due to her social and student activism, completely opposed to the old ideals of the military regime.
As for the preacher, he became an idealist closer to Christ teachings and he refuses to follow the prosperity theology in order to make his church work bigger. He could make something greater than the small place he has but he doesn't and for good and valuable reasons. A man of great faith but also tormented with the ghosts from his past, even though he was wrongly arrested.
It's a very puzzling film with its countless flashbacks and flashforwards that makes it all too interesting as we investigate (like the student) the destiny of both men, specially Miguel/codename João as he becomes a sort of a mystery figure of which we only know after his book of memories. While the 1999 segments dance around between really great to near distracting as we follow too much of the young woman and her almost pointless idealism (I don't accept the whole thing about the heritage refusal, as someone close to her would benefit in that most needed time), the segments on the past are all amazingly done, specially the few moments Massaro and Mello share the screen. The dialogue is so clear and perfect when they talk about politics and the good fight to be fought that you don't need things to get explained. A little understanding on the preachings of Jesus and a little about Marx theories and you can get the full view on how close the two more contemporary men were despite one wanting peace and love while the other had to use arms.
Here's a film that proves that there's no such thing as the drainage of a theme or formulas. It's destined to become a great point of reference for viewers in understanding Brazil during dictatorship just as much as many other classics released from the late 1960's up until this one, and probably many more to come. If we're still debating those issues in society it's because there are stories to be told (this one was inspired by real events too).
It's a pity that it sort of slipped when it comes to release since it spent too much time with awards presentation on late 2022 - including the sad reception it got in Gramado with boos from a certain uncultured crowd on the red carpet - and then got an unnoticed 2023 release. A real pity since it's a very good film, great acted all the way (gotta love Johnny Massaro's commitment to a very physical role right after "Os Primeiros Soldados", also very demanding on him), and it made classical themes of mutual understanding and respect in an effective, reflective and presentable manner, the latter as it escapes a little from the usual violence of similar themed works. An authentic quality work all the way. 9/10.
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