By Eva Paulino Bueno (auth.)
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Additional resources for Amácio Mazzaropi in the Film and Culture of Brazil: After Cinema Novo
This time, the lesson is how a man should treat a woman. He then gallantly approaches the young woman carrying her clothes. The privates cannot hear the conversation, but they can see the woman slap the lieutenant on the face. He then stumbles back to his soldiers, who have watched the scene and are laughing at his humiliation. The lesson the episode teaches the privates is that, first, women are unpredictable and, second, that female authority overrules even the power of their most immediate superior, the lieutenant.
Once again, I point out that, because the films are not available in English, I must provide summaries of the stories, whenever necessary. 3 In the story, the main character, Izidoro, is involved most of the time with the mechanical troubles caused by his truck, Anastácio. Izidoro treats it as a person and even lovingly covers it with a blanket to protect it from the cold of the night. He also has a dog, Coroné, who accompanies him in his work and rides with him in the front of the truck. It is not strange, therefore, that the truck and the dog have access to Izidoro’s thoughts, with whom they seem to function in unison, obeying his commands even before he has time to utter them.
He also offers a possibility for the study of the complexity of popular culture, because his films at once tap the profound dilemmas of artists poised between their art and commercialism, and expose the culture and class divisions in the country. In the process, Mazzaropi’s work presents another facet of the complex Brazilian identity— or José Mario Ortiz Ramos’s “cultural matrixes”—in profound (and often 22 ● Amácio Mazzaropi in the Film and Culture of Brazil funny) ways. His presentation—nonofficial, extraintellectual, and unclaimed by any established Brazilian intellectual group—reaches the screens untheorized and unmediated.