Cuatro días de septiembre

Four days in September is not supposed to be funny, predictable, or boring. It is a piece of Brazilian history from the 60's and based on real events. Those dark years of Brazilian history are not supposed to be fun. It was certainly not boring either. For those who admire different cultures it is a great movie and a great introduction to contemporary Brazilian history. It starts with Girl from Ipanema and lots of images of a country that was enjoying itself in the years before the military coup. Leila Diniz, Bossa Nova, all was allowed before the military coup in 1964 and hence compose the first scenes of the movie. Characters are based on real participants of the kidnapping and Fernando Gabeira (Paulo) is still engaged in politics in Brazil. It's also worth noting that Fernanda Montenegro (Dona Margarida) and Fernanda Torres (andreia/Maria) (mother and daugther in real life) are both in this movie. It's a great piece for those who are willing to learn a little bit more about an amazing country that is Brazil.

In 1964, the military deposes the democratically elected Brazilian government. By 1969, the military has imposed a police state. Friends Fernando Gabeira and César decide to fight back by joining revolutionaries. The group MR8 is led by Maria. César is captured during a bank robbery. Fernando comes up with the plan to kidnap the American Ambassador Charles Burke Elbrick (Alan Arkin). They seek to exchange him for 15 prisoners.

I like the mix of characters in the revolutionary group. Each character is well defined and fully complete. It's not that much of a thriller despite a few action scenes. It has some psychological aspects. It's really the interactions within the group and with Alan Arkin that is the most interesting.

This is a truly passionate film about young men and women who fight for ideals that they believe in.

A Brazillian rebel group has kidnapped the American ambassador for Brazil, and demands that fifteen jailed political prisoners be let free. This leads to some tense sequences with Fernando, the most intelligent and cowardly of the kidnappers, and the ambassador (played brilliantly by Alan Arkin).

This could have become a routine thriller. It isn't due to it's intelligence and passion. A very worthwhile movie.

** Even if you're turned off by the idea of subtitles, don't worry. There is a lot of English.

I didn't learn any Portuguese, but from this movie I learned a bit about Brazil, though "Four Days" is mostly in Portuguese. (I have a hard enough time with Spanish, thanks.) This film offers insight into a part of South American politics that I frankly have little knowledge of and I didn't follow at the time (I mean, the parts in the movie's epilogue during which I was alive and aware), and for that alone it is worth watching. Even if you don't care, the movie will bring it to light so you can imagine the Brazil of the 1960s and you just might care that you learned something about it.

"Four Days" manages to carry the viewer through to the 1989 end of the military regime in its epilogue. The Soviet Bloc was falling apart at about the same time, the Berlin Wall, if I recall, came down that year, so I suppose many would have missed this interesting ploy for attention by revolutionaries for that reason (which I certainly admit to, having following the Soviet departure steadily and having no idea about this Brazilian event).

The movie is a telling of when eager Brazilian Communist-leftist revolutionaries, both innocent and veteran, take the U.S. Ambassador hostage to draw the attention of the world toward Brazil, and to challenge the Brazilian powers they hope to overthrow ultimately, with demands for releasing their compatriots. I thought it was a convincing movie, though coming up short on making the characters particularly compelling. But then, the event was the focus, not the characters. Alan Arkin was terrific. So was the actor who played the central character, the young, not too tough, glasses-wearing Fernando.

The show didn't hide behind the revolutionaries, either. We saw things from the other side, too. It was believable, and I really enjoyed the handling of both sides of the coin in this real-life drama. There was a smoothly presented bit with a regime torturer and his girlfriend (wife?), where he suddenly admits to her what he does for the government. He'd claimed he was doing something much milder for some time, and finally outs himself as a member of the secret service. He rationalizes his torturing college kids to prevent a breakdown of Brazilian society, almost convincingly, but his lady doesn't buy it, and neither should the audience. The scene was meant to put a human face on the bad guy, and did it reasonably, but we also get that his

rationalizing leaves even him a bit flat, as he tries to embrace his woman when she turns away from him in distaste.

Most of the film is spoken in Portuguese, and I didn't mind reading this movie a bit. (It's when a movie that wouldn't be enjoyable in any language that I mind reading my way through it.) This is a movie worth seeing for its attention to a daring moment in Brazil's move toward democracy. And even if you don't care about that, it is a terrific suspense film.

When the Brazilian Government is overthrown by a military uprising, the result is a dictatorship over the people. With protests violently broken up on the streets, armed struggle is seen as the only solution and leads to the formation of the 8th October group (MR8). Desiring direct action, Fernando and Cesar join the group and are trained in weaponry and the likes. However during a bank job, Cesar hesitates to kill and is shot and captured by the police, while the others flee. It is this that gives Fernando the idea to kidnap the American ambassador in return for the release of 15 captured revolutionaries and bringing the events to the attention of the world. This film tells the story of the four-day hostage situation in the mid-sixties.

I'm not a particularly well-read person and there is a lot of history (even recent history) that I am simply not aware of and this includes the events and times presented in this film. For that reason I cannot really comment on the accuracy or level of detail containing in this telling but what little I have since gleamed from other sources tell me that it is pretty fair and close enough to being accurate. The plot is well told and is made interesting by the attention paid to the people involved in the situation; the drama and tension comes from them rather than false action sequences or stand-offs. The thanks for this should lie with the cast but also with the script that creates the characters and makes them 'real', meaning we find it easier to understand them and feel for the positions they are in. The historical context is well done and I did find it very easy to get engaged in.

The characters are where it is at and they are all very 'human'. We are never made to totally root for them because of what they are doing, but we are helped to understand why they are doing this and how hard it is for some of them to actually turn their words into action. Cardoso does this best and he is the real heart of the film and easily the most sympathetic character. He has good chemistry with Arkin, who does well acting in a foreign film. Torres does well to gradually soften her character as the film goes and it makes her more interesting than she was early on. Support is all pretty good with no really weak performances anywhere but the film mostly belongs to these lead three. The direction is good, capturing the feel of the period early on (where stock footage blends seamlessly into the main film) and producing tension without overdoing the style over substance.

Overall this is a pretty good film, telling a straight story using the characters to drive it forward and involve the audience. The film has tension but it comes from the people involved and the situations they face in the attempts to do the 'right thing'. The script delivers the characters to the actors and the actors are convincing in their delivery, producing an engaging and interesting film that helps deliver historical relevance in a miniature story.