Search - Mango Yellow on DVD

Lives of Quiet Desperation ...

Erika Borsos | Gulf Coast of FL, USA | 05/25/2007

(4 out of 5 stars)

"Mango Yellow provides a look into the lower class life in Brazil in the city of Recife. There is a surreal atmosphere to the film because the characters are eccentric and exaggerated to emphasize certain aspects of their behavior and personalities. It is a film which allows raw expressions of feeling by those who are on the economic edge of life. The viewer is first introduced to a waitress who may also be the bar owner.. She is tired of her job and the lifestyle she leads but continues on ... providing philosophical treatistes while she serves her customers their favorite beverage. Her bar is the local hang out for many people. She fights off the sexual advances of her customers while also testing her sexuality and appeal ... They come to her rescue when she is challenged by a new customer, not one of her regulars.

The viewer is introduced to several residents and employees at the Texas Hotel which is a seedy run down place, the only home to several unique characters. Isaac, also called "the German" has a peculiar fetish and obsession. It is very bizarre ... There is a lonely, elderly retired asthmatic woman named Aurora, who recalls her life during more exciting times. There is a gay cook named Dunga, who has the 'hots" for a heterosexual butcher named Wellington whom he knows he can not "have"... Wellington is shown doing his work at the local slaughterhouse where a cow is killed and butchered, all of which is graphcally shown. The gay cook knows Wellington is cheating on his wife Kika. Wellington is very proud that his wife is a very religious Evangelical Christian. She reveals during a discussion at dinner that although she can forgive just about anything, the thing she absolutely can not tolerate is infidelity. Dunga wants to create trouble in Wellington's marriage when he realizes he will never have a relationship the way he would like with Wellington. The cook sends an anonymous note to Kika, telling her about a rendevous between her husband and his lover, he provides the time and the location.

It is at this point in the film when everything heats up and comes to a climax, literally and figurately. The owner of the Texas Hotel is discovered dead, likely of natural causes. Dunga is the only one who cares enough to find the priest and try to provide him a decent funeral and burial. Wellington is caught by his wife ... cheating with his lover. Kika engages in a most shocking un-Christian action. After this event, she walks home but is offered a ride by Isaac who happens to be driving by. The two of them engage in some very needy sexual behavior. The film concludes with the camera recording different people who live in the neighborhood going about their lives in their usual manner ... with some unsual musical accompaniment. This film records the desperate lives of people who live on the edge of survival and who have very little hope. It provides a glimpse into the bleak existence of many well fleshed out characters whose lives are very twisted and troubled ...This film will not appeal to everyone but viewers who like a strong film which makes a bold statement about life within a narrow part of the globe will appreciate this creative impression on celluloid left by the Brazilian director Claudio Assis. Erika Borsos [pepper flower]
"

The prison of Northeastern poverty seen through the panoptic

Salty Saltillo | from the road, USA | 12/07/2006

(1 out of 5 stars)

"This movie is part of an ongoing trend in Brazilian cinema (and arts) - the artistic representation of the low brow poor (in this case northeastern) other for the consumption of the high brow modern Brazilian art consumer. It is a motif of Brazilian art that goes at least as far back as Aluizio Azevedo's depictions of 19th century poor people in Casa de Pensao and o Cortico (and includes paintings by Portinari and books by authors like Graciliano Ramos). When done right, I suppose such art serves to bridge the gap between the represented other - the Sertanejo, the urban poor, the nordestino - and the art consumer - the urban Paulistano or Carioca moviegoer or book reader. When done right, the sophisticated, urban Brazilian consumer might feel more empathy with and sympathy for the social classes whose very selection as the object of artistic representation is testament to great distance that separates such modern, urban Brazilians from the people whose lives are represented in such films and books.

But this film does it all wrong. Every character in the film produces a certain repulsion in the viewer. We are shown the grotesque private perversions of each character, their crude habits, lack of manners, lack of morals, and secret fantasies - there is the necrophiliac, the drunken leftists, the girl who never wears panties, the girl whose sexual fantasies include raping a man with a hair brush handle, the uncontrollably faithless and disloyal husband, the corrupt city bureacrat, the ridiculously stereotyped gay cook, the hotel owner who uses his underwear as a wallet, the old lady who masturbates with an oxygen machine, the girl who can only form sexual and emotional attachments to married men... the list goes on. The style of the plotting was very Altman-esque, but that where Robert Altman sought to give a cross-section of society in "Short Cuts", here we are left with Azevedo's "O Cortico" recreated as the "Texas Hotel" and "Avenida Bar" in the 21st century. This movie is just a widening of the psychological gap between rich and poor, nordestino and Paulistano/carioca, a gap that continues to warp Brazilian social life. It is disappointing to see artists reinforce so many stereotypes in their art.
"

Exotic Brazilians

Amos Lassen | Little Rock, Arkansas | 01/07/2009

(2 out of 5 stars)

""Mango Yellow"

Exotic Brazilians

Amos Lassen

First Run Features brings us "Mellow Yellow" which consists of short stories which take place at a bar in Recife. We get a cast of quite exotic characters who live in the underground of Brazil--a butcher married to an evangelical woman, a necrophile in love with the bar owner. A transvestite and several others. Their lives come together in the bar and we get an interesting look at some Brazilian characters.
Basically the film shows how yellow life can be. The stories we see are about love, betrayal, desire and work. Each of the characters has his own problems but they are not the kind of problems that we are usually familiar with.
Dunga is a gay transvestite works at the hotel and harbors a crush on Wellington, the butcher who is married to a religious woman, Kika. Isaac, the necrophile, is the proud owner of a yellow Mercedes and he wants to have sex with Ligia, the bar owner. The film is an exploitation of sex and those at the lower levels of society. There is a great deal of totally unnecessary nudity and the sex scenes seem to be there for the shock value. The film is like a mosaic made up of different tiles that will eventually fit together to produce a whole. The cast is marvelous even though the script is a bit at times. I saw the film as an experiment in public masturbation--both visual and verbal and then as I stated before for the purpose of shock. The cinematography is wonderful, however and the actors are quite good. Perhaps there is something esoteric here, I am not sure because I did not understand much.
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Great movie

Geary Davis | Mobile, AL USA | 03/19/2007

(5 out of 5 stars)

"This movie really give a unique portrait of Brazil. It's well written and very well constructed. This story is MUCH different from the tons of movies that come out of Rio or Sao Paulo. It's a must see for Brazilian film lovers."