jzappa I was hardly aware of the time in history depicted in this 1971 Brazilian black comedy, however that is not to say it wasn't accessible to me because the movie makes it very clear. It's set in 16th century Brazil, where rival French and Portuguese settlers are exploiting the indigineous people as confederates in their battle to assert dominance. What is particularly interesting about the movie is that it is made by the Portuguese from the point of view of the French. The hero is a likable Frenchman, the Portuguese are barbarians, and the rest of the French are oppressive and greedy. The film's Portuguese makers are objective because when all is said and done, we see that it makes no difference whose side one takes. It's about heredity overpowered by environment in a time starkly defined by tribes. Enemies are made and perpetuated, and like so, the environmental integration never progresses.A Frenchman is captured by the Portuguese is then captured by an indigenous tribe, the Tupinambas, after they massacre a group of Portuguese. The tribe's shaman predicted they would find a strong Portuguese man to cannibalize as revenge for the chief's brother being killed by a Portugeuse musket ball. Thinking the Frenchman is Portuguese, they believe they now have one. Nevertheless, the Frenchman is granted unrestrained course of the village, is sooner or later given a wife, and assumes their accustomed appearance rather than his Western clothes, or any clothes. Another Frenchman comes to the village and tells the tribe that their prisoner is indeed Portuguese, then assures the incensed Frenchman that he will tell them the truth when the Frenchman finds a secret treasure trove that another European has hidden nearby.I found the opening scene funny, because its narration apposed with its contradictions on- screen serve as great satire, even if the movie didn't seem to want to maintain that tone very much more often. It's actually not a terribly riveting film. The bountiful, essential locale, fierce way of life and ripened native women make not only the Frenchman, but us, too, forget any threat, and we have the feeling of him as a free man. It should not be that terribly hard to escape. The cannibalism is as scarce of desire as the full-frontal nudity of the cast, suggested in lieu as the representative core of Pereira dos Santos's dry political cartoon of New World mythology and undeveloped social coherence. At any rate, this 1500s-era social commentary, shot on location at a bay with 365 islands, played almost entirely nude and almost entirely written in Tupi, encourages effective breakdown of established ways which are topical because they've repeated themselves for centuries.

CelluloidRehab This is a pseudo-documentary about a French mercenary whom is executed, ends up as a prisoner of the Portuguese and then is the "honored guest" of a cannibalistic Brazilian native tribe. The film is based on the 16th century account of a German explorer, Hans Staden, who was captured by the Tupinamba. The Frenchman becomes part of the tribe, is even given a wife and a hut, until he is to be eaten in a massive ceremony. During this time he tries to figure out a way to escape, by conforming to the tribe.This film was originally banned in Brazil and was rejected from the Cannes Film Festival because of excessive nudity. The subject matter is portrayed in a documentary style, complete with shaky hand camera footage and including the spoken languages of French, Portuguese and Tupi. With the exception of the few European characters, the majority of the cast spends the film either bottomless, topless or both (also both sexes). The production value appears at first to be quite underwhelming, but I think instead it tries to emulate the simplicity and actuality of the situation rather than some ornate (or romanticized) recollection.At the same time it is trying to be an objective observer, it is also a critique of mercantilism and its descendants; monetarism and capitalism. There is no real judgment being issued here, but rather is a look at the encounter of the cultures, in an anthropological or rather a more realistic reinterpretation of what occurred when these cultures interacted. Some have said this a black comedy, but I did not find too many places to break out into a roaring laughter (though I did chuckle a few times at the cultural misunderstandings). This may sound like a rather dry film (which it is), but the relatively short running time makes it seem more like a PBS special than an actual feature film. The movie would also seem to resonate more with the situation and culture of Brazil (past and present). Brazil is a unique country, with a diverse history and culture. It was one of the first films that tried to relate to the "savages", in light of the audience's identification with the Europeans. Even 30 years later, its relevance continues.

Claudio Carvalho In 1594 in Brazil, the Tupinambas Indians are friends of the Frenches and their enemies are the Tupiniquins, friends of the Portugueses. A Frenchman (Arduíno Colassanti) is captured by the Tupinambás, and in spite of his trial to convince them that he is French, they believe he is Portuguese. The Frenchman becomes their slave, and maritally lives with Seboipepe (Ana Maria Magalhães). Later, he uses powder in the cannons that the Portuguese left behind to defeat the Tupiniquins in a battle. In order to celebrate the victory, the Indians decide to eat him. "Como Era Gostoso o Meu Francês" is another great low budget movie of the great Brazilian director Nélson Pereira dos Santos. The screenplay is very original and the story is spoken in Tupi. The film is shot using natural light most of the time and is very realistic. The actors and actresses perform naked and Ana Maria Magalhães is magnificent, showing a wonderful body and giving a stunning performance. The sound is produced by the Brazilian musician Zé Rodrix. This movie shows the beginning of the exploitation of my country by Europeans, focusing in the Portuguese and French at that time, trading with the Indians and exchanging combs and mirrors by our natural resources. This movie was awarded in the national festivals, such as the 1971 Brazilian Cinema Festival of Brasília (Festival de Brazília do Cinema Brasileiro) with Best Screenplay (Nelson Pereira dos Santos), Best Dialog (Nelson Pereira dos Santos and Humberto Mauro) and Best Cenograph (Régis Monteiro); Art Critics Association of São Paulo (Associação Paulista dos Críticos de Arte), with best Revelation of the Year (Ana Maria Magalhães) and some other prizes. My vote is eight.Title (Brazil): "Como Era Gostoso o Meu Francês" ("How Tasty Was My Frenchman")

tho-3 I saw this movie at a college film festival back in the 70's - I have been waiting FOREVER for this movie to come out on video (finally it's out). It was made in Brazil, so I assumed that was why it hadn't made it to video yet. I have been checking video stores for the past 15 years waiting for this outstanding movie to come out! It is one of my all-time favorites - but be warned, it is weird, like Werner Herzog weird - its weirdness stems from its super-realism.The movie is based on a true incident back a few centuries ago, in pre-colonial times, when Europeans were first encountering the tribes in the Amazon. A white man is mistaken by a savage tribe of cannibals as their enemy, so they intend to kill him. Before they dispatch him, though, they make him part of their tribe (their custom). The entire movie is like watching a National Geographic documentary as he becomes an accepted member of their tribe. That's it. Cosmic plotline? No. Intense insight into the variety of human life? Definitely.Oh yeah... be warned... this film has definite nudity - this is not some Hollywood schlock flick about noble savages... this film tells it like it was (re-read above: National Geographic, super-realism)