FOUR DAYS IN SEPTEMBER
A Film Review by James Berardinelli
RATING: *** OUT OF ****
Brazil, 1997 U.S. Release Date: beginning 2/98 (limited) Running Length: 1:46 MPAA Classification: R (Violence, profanity, sexual situations) Theatrical Aspect Ratio: 1.85:1
Cast: Alan Arkin, Pedro Cardoso, Fernanda Torres, Luiz Fernand Guimares, Claudia Abreu, Nelson Dantas, Matheus Nachtergaele Director: Bruno Barreto Producers: Lucy Barreto Screenplay: Leopoldo Serran based on the novel O QUE ISSO, COMPANHEIRO by Fernando Gabeira Cinematography: Felix Monti Music: Stewart Copeland U.S. Distributor: Miramax Films In Portuguese and English with subtitles
What happens when the idealism of revolutionaries turns rotten? Or when the methods of so-called "freedom fighters" become difficult to distinguish from those of the men they're struggling to topple? These are just two of the issues addressed by Bruno Barreto's behind-the- scenes look into the politics of revolution and terrorism, and how the best intentions often lead to ugly results.
The setting is Rio de Janeiro in July 1969. The military junta, which has ruled Brazil since staging a coup five years ago, has suspended civil rights and the freedom of the press. The iron fist is closing, and the number of jailed political prisoners is on the rise. Universities have become a hotbed of discord. The United States, deeply embroiled in Vietnam, has little time to spend on events in South America, although an ambassador, Charles Burke Elbrick (Alan Arkin), remains in Rio to keep the lines of communication open.
While there are many revolutionary groups, most are confused and fragmented. The power lies with the military, not with the dissidents. One small band, The October Revolutionary Movement, emboldened by their successful "liberation of funds" from a bank, are preparing a major sally in the underground war -- they intend to kidnap the American Ambassador and hold him hostage. Their demands: the government must free 15 political prisoners within 48 hours of the abduction, or they will kill Elbrick. The deadline will not be pushed back. Two months later, The October Revolutionary Movement is ready to put their plan into action, and, mostly as a result of good luck, they capture the ambassador on September 4.
The men and women comprising The October Revolutionary Movement are a diverse group. There's Fernando (Pedro Cardoso), a passionate intellectual whose skill is with pens, not guns. Maria (Fernanda Torres) is the fiery brunette who founded the organization and is trying to fashion it into something more disciplined than a "bunch of middle- aged kids out for an adventure." Renee (Claudia Abreu) is a compassionate young woman whose gentle manner makes her an unlikely kidnapper. Toledo (Nelson Dantas) is an aging freedom fighter brought in to lend his experience to the venture. And Jonas (Matheus Nachtergaele) is Toledo's no-nonsense companion, who takes over the military side of the operation.
FOUR DAYS IN SEPTEMBER works to some degree as a thriller, but it's more effective as a drama. The film makes a number of telling points about the consequences of adopting violence as a legitimate means of revolution. John Sayles' MEN WITH GUNS investigates the same issue from a different perspective. When both sides of a struggle employ similar tactics, is the difference in ideology enough to differentiate them? The members of October Revolutionary Movement start out with the intention of doing their part to restore freedom to Rio, but, shortly after holding a loaded gun to Elbrick's head, Fernando pronounces that the entire endeavor "was a dream that failed." Those words, and the epilogue that follows, underscore Barreto's point that revolution (or terrorism, depending on your viewpoint) is more likely to generate disillusionment than heroism.
During the course of his two days of captivity, Elbrick forms a tentative bond with two of his captors. Renee tends to his head wound and offers soothing words of comfort. Fernando talks politics and philosophy with him. As in both THE CRYING GAME and OCTOBER, we see how the relationship between a hostage and his abductor can unbalance the situation. Suddenly, each side becomes humanized to the other. It's no longer a matter of slogans, but of flesh-and-blood human beings. Maria and Jonas remain aloof in case they have to act against Elbrick.
FOUR DAYS IN SEPTEMBER also goes to great lengths to demonstrate that the members of The October Revolutionary Movement are amateurs. They make enough mistakes for the police to be able to track them down. But the flawed nature of their plans makes this film all the more believable (it is based on a true story). Another aspect of the movie that enhances its credibility is the way Barreto works to detail the interpersonal relationships among members of the movement, such as the animosity between Fernando and Jonas and the sexual tension between Maria and Fernando.
The film's best performance is given by American actor Alan Arkin, who successfully essays a cultured man attempting to retain his dignity in a nearly-impossible situation. One standout sequence has Arkin's Elbrick characterizing his masked captors by describing their hands. As Fernando, Pedro Cardoso does a solid job of presenting the disintegration of a idealist. The other noteworthy performer, Fernanda Torres, plays Maria with fire and emotion.
Under a different director, FOUR DAYS IN SEPTEMBER could have turned into a routine thriller. Indeed, at times, the movie treads through familiar territory – this isn't exactly a unique perspective – but the intelligence and passion in Barreto's approach lift the film to a higher level. This motion picture is not groundbreaking, but it is fascinating and thought-provoking, and offers a little suspense to enliven the drama.
Copyright 1998 James Berardinelli
- James Berardinelli e-mail: berardin@mail.cybernex.net
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