As a film enthusiast who has spent countless hours immersed in the rich cinematic landscapes of South America, I must say that “City of God: The Fight Rages On” leaves me with a bittersweet taste, much like an empanada filled with memories of a beloved classic.
In 2002, Fernando Meirelles and Kátia Lund’s film “City of God” was widely praised – it appeared on numerous Top 10 lists, received four Oscar nominations, etc. However, it wasn’t free from criticism. Some people felt that the violent coming-of-age story glamorized poverty and crime in the Brazilian slums without offering a more nuanced portrayal beyond misery.
Fundamentally, the protagonist of HBO Latino and Max’s new series spinoff, City of God: The Struggle Continues, Wilson (Alexandre Rodrigues), was raised in the densely populated, economically disadvantaged outskirts of Rio de Janeiro. As he watched his companions and adversaries perish amidst the series’ increasing violence, photography served as his means of escape. Despite his rise to fame as one of the nation’s top photojournalists, Wilson is weary of the fact that much of his success stems from photographing death.
Wilson’s troubled relationship with his daughter Leka (Luellem de Castro), a rap artist known for her explicit lyrics and provocative persona, is a source of discomfort for him. However, Leka expresses their predicament in a straightforward manner.
“Are you aware of the person you’ve transformed into, Rocket?” she challenges, using an old term of endearment. “A slaughterer. And you peddle tainted goods. They, the people with pale skin, sit before their televisions, sipping cocoa milk, observing our struggles and thinking, ‘I am truly thankful for my life.'”
After mulling over it for some time, Wilson pledges to improve for the benefit of his community. Will he follow through? What’s next in the ongoing struggle portrayed in “City of God: The Struggle Continues“?
From the first two episodes shown, it’s not entirely clear what direction City of God: The Fight Rages On is heading. So far, it seems to be engaging more with fans and critics of a 22-year-old movie rather than reflecting contemporary life in Brazil. While its early scenes can be exciting, they often seem to cater to the audience or revisit past events instead of exploring new themes.
In the favela, Rocket, known by that name, symbolizes the central tension in the film, The Fight Rages On. While Rocket was indeed the leading character of the movie, he may not have been the most striking or memorable figure. The film received criticism for its lackluster heroes compared to its vibrant gang members and tragic revolutionaries. Most of the most dynamic characters from City of God were written off during emotional climaxes, or else they were portrayed by Alice Braga, a rising international star who does not reappear in this sequel.
In simpler terms, the initial episodes of “Fight Rages On” series establish a lot about Wilson’s fame, guilt, and lack of personal intrigue. As an observer character, he needs more engaging characters to interact with. The creative team behind the show, including Meirelles as a producer but not a writer or director, need to either introduce new characters or bring back characters from the original drama who were previously minor figures – or in this case, they do both, which can make things a bit complicated.
As someone who grew up in the bustling heart of Rio de Janeiro, I can’t help but feel a deep connection to the characters from City of God, a film that captured the raw and gritty reality of life in Brazilian favelas.
As a gamer, I’ve always appreciated the intricate narrative style in games that mimic the Scorsese approach with its unexpected storytelling twists, hints at future plot points, and sudden flashbacks. However, sometimes it feels like we’re spending too much time revisiting the past instead of forging ahead into new adventures. The snippets from the game, featuring both familiar and yet-to-be-seen characters, don’t necessarily add much to the main storyline. They’re more like Easter eggs or a continuation of nostalgia, keeping the legacy alive without necessarily advancing the plot (connections to previous City of God spinoff series, City of Men, if they exist, remain unaddressed).
The newcomer characters, introduced subtly without much fuss, are more profound than those who reappear. Standout performances include Andréia Horta as Jerusa, who plays a crucial role in freeing Bradock and portrays a seductive version of Lady Macbeth, pushing him to rebel against the favela kingpin Curió (Marcos Palmeira). There’s also PQD (Demétrio Nascimento Alves), a military man trying to stay neutral amidst the rising criminal groups; Lígia (Eli Pereira), an ambitious journalist; and several others.
In a nutshell, the storyline of “City of God: The Fight Rages On” revolves around a well-respected photographer who is torn between his allegiances when a violent gang turf war erupts in the Rio favela where he once lived. However, this synopsis doesn’t fully convey the depth and development required to reach that straightforward yet engaging central conflict.
As I delved deeper into the second act of “The Fight Rages On,” it morphed into a thrilling succession of intense action scenes set amidst favela backdrops. The game seems to straddle two worlds: on one hand, it subtly portrays Wilson’s remorse and critiques the collusion between Brazilian law enforcement, politicians, and oligarchs that often leaves the common folk in the lurch. On the other, it paints a picture of impoverished individuals hiding in shadowy corners, armed with machine guns, who are mere pieces in an unending drug war.
Although the plot structure and settings are key elements in the series, The Fight Rages On seldom manages to replicate or match the distinctive visual style of the film. While it wasn’t completely original – to put it modestly, it could be likened to a blend of “The 400 Blows,” “The Battle of Algiers,” and “Pixote” – it shared a raw, authentic charm with the works of several Mexican and South American filmmakers. The series was incredibly sensory, with every costume feeling tactile, each marketplace filled with a unique scent, and the sound design creating a chaotic symphony that seemed to emanate from every frame, as if the scenes were bathed in an ever-present heat.
In this show, frequent flashbacks repeatedly underscore the sense of dissatisfaction as it feels overly polished, lacking authenticity, and disconnected from real-world events. Instead, it seems more like a typical TV production, or even multiple ones combined.
The work is ensnared in a chain of origin. Filmmakers Meirelles and José Padilha emerged simultaneously, with their works “City of God” and “Bus 174” released in the same year. Padilla achieved great success with “Elite Squad” in 2007 and its sequel, before overseeing and directing the beginning of Netflix’s “Narcos”. Now there is a “City of God” sequel that, to some extent, revolves around the same BOPE police unit depicted in “Elite Squad”, and if there’s one thing that “City of God: The Struggle Continues” evokes, it’s “Narcos: Brazil”. Given that “Narcos” was already quite derivative, we’re now venturing into replicas of replicas.
I’ll keep watching for a few more episodes yet, to determine if Wilson’s regret holds significance in the plot or is merely dramatic. I’m quite captivated by several of the performances, particularly those delivered by Horta, Martins, and de Castro. Frankly, there’s nothing fundamentally flawed about Narcos: Brazil. If only City of God: The Fight Rages On didn’t continually remind us of its powerful roots.
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2024-08-23 16:55