丛林怪兽 Macunaíma(1969)
又名: 马库纳伊玛 / Jungle Freaks
导演: 瓦基姆·佩德罗·德·安德拉德
编剧: 瓦基姆·佩德罗·德·安德拉德
制片国家/地区: 巴西
上映日期: 1969
片长: 110 分钟 IMDb: tt0064616 豆瓣评分：7.4 下载地址：迅雷下载
演员：
影评：
1.怪异的人（老妪）生下孩子，名字就叫片名，说意思是人民的英雄，生下来就是个成人笑死了
ma代表不幸 他的名字开头就是ma【笑死我了ma代表不幸啊啊啊啊啊啊】
六岁还不会说话，他只在家人洗澡和有钱的时候醒来，妈呀每个人都睡吊床，然后在吊床上doi
2.在抽烟后，他变成了王子
3.索菲亚因为玩没工作被打
4.太可怕了，他们那时候难道真的过的这么原始的生活吗，烤野猪，但他们只给他吃内脏
5.委屈的他和索菲亚在丛林里嬉戏，索菲亚把他的脚咬伤
6.忽然又出现了一个女人，种植园也被洪水淹没了（？）他们抓鱼 m藏了食物，却不愿意给兄弟们分享，妈妈指责他，把他放逐，他游荡了一周
7.碰到grandpa，他给他割了一块肉吃，荒诞的故事
后面他跑，说食人魔要吃他
8.他回家，妈妈（？）死了
9.启程后遇到水，淋了的人就变白了，但一个兄弟没淋到水
10.他们到达城市，漂亮女孩在妓院找到了工作
到了城市，机器困扰着他，碰到枪战，有人追一个女的，他指了错的方向
11.电梯里 她和这个女人搏斗，她说她很漂亮 想和她doi 原始的欲望
他去抚摸这个女人的身体，但她醒来后骂他下流，还是和他接吻doi 好癫……
12.女孩ci是游击队的一员 他和ci住一起了 并不让兄弟和自己住，女孩去发动战争，她在家里面休息。
13.他唯爱钱，所以女孩用钱来调戏他，他们在吊床里做爱，滚来滚去。
他们把doi说成play，非常童真的说法
她说她有一个项链，能给他带来好运
14.六个月后女孩怀孕生子，生下来了一开始的那个大孩笑死我了啊啊
15.有种性别颠倒的感觉就是女的在外面工作，男的在家带崽，但是还是女的生崽。
ci被炸死了 他悲痛 兄弟们劝他
16.他在海滩上借酒浇愁的时候，一群女孩们冲向她。觉得他肯定很有钱，抢着要争夺他。这个故事真的没有任何逻辑，像是ai写的。很荒诞。
17.他在报纸上发现了她的项链，说是一个商业巨头v在鱼肚里搞到的
三兄弟们决定去找这个石头，但他们爬树摘水果，结果太吵被人从树上打下来了
18.他被v盯上了，v是食人肉的，他决定扮成女人去接近v，看到了石头项链，然后过程中他经常被吓一跳发出粗犷声音笑死了，笑死了这两个人好荒诞，他一副夸张痴汉的样子
v一靠近他就跑，然后装作是去弹钢琴
19.v让他脱掉衣服就给他看石头
结果后面一个裸女的雕像动了，居然是真人
脱掉衣服后，v发现他是男的
这次计划失败，他来到一个跳大神的地方找女孩子帮忙，他打这个女孩子，蒙太奇v也被空气打
v重伤，修养了一个月
20.一个男人演讲，说反对无神论者，然后慷慨陈词，他把这个人赶下来自己站上去，他说真正困扰巴西的是各种虫子，表示了对政治和意识形态的蔑视（？）
下面的人骂他危险分子
警察说要逮捕他，他说他为什么跑是在被野猪追，然后又把兄弟卖了让他们抓兄弟哈哈哈哈哈
兄弟回来了，指责他为什么说野猪，他说“可是我在说话的时候就已经在说谎”
21.他看到一只会下钱的鹅，他立刻买了，结果接了一手鸟粪被骗了哈哈
22.他来到大鳄家，踢门结果脚痛笑死了
碰到了阳台上的美女，他和美女doi，美女问他名字，他说兄弟的哈哈哈哈哈，室内设计李天琪
他来偷石头，被从天而降网抓到，v夫人说他是被抓住的鸭子，要吃他，结果二女儿带着他跑了
23.兄弟带女人回来做爱，他硬要开灯。
24.m在路上看到一个用石头开坚果的人，他用石头开自己裆，然后痛死了。结果他忽然又好了
25.忽然收到了大鳄的信，说让他女儿和他结婚。
26.大鳄扛着他，让他来到女儿婚礼。来到婚礼现场，池子里都是人肉，他们把人丢下去人就会死。
大鳄让他坐在池子上的秋千上，然后拿箭射他。
结果他把大鳄推上了秋千，在朝他射了一箭后，大鳄掉了下去。
27.杀死大鳄后决定回家，带回财宝和女人，他回来后开始想念ci，发现家没了，女人想和他doi，他那个时候想着ci养胃
兄弟和女人出去找食物，但是没找到她，回来的时候在睡觉，兄弟们骂他，他说自己碰到了
Macunaíma is a crazy surrealistic Brazilian movie while being very entertaining and relatively easy to watch. Fantastic elements are incorporated well to arrive at amusing result in some sequences.
The film opens with the birth of the hero Macunaíma. The “baby”, though, is a full-grown black man while the “mom” is an aged masculine white woman. Macunaíma survives from a great flood. His two brothers and a woman and Macunaíma are forced to migrate to the city. One the way they found a gushing fountain of which the water turns Macunaíma white. One of his brothers, Jiguê, rushes to the spring but manages to wet only his soles and palms. By the time the oldest brother reaches the spring, the spring has dried up. He felt disappointed so Macunaíma reminds him, “You’re already white. What if you turn black?”
This sequence is not only ridiculous but also racist to audience who are unaccustomed to the contradiction of racial mixtures in Brazil. The critical attitude toward racial stereotypes is hard to recognized in this film and the more obvious critique is towards consumerism and capitalist development. The treatment of characterization of Macunaíma as the white “hero” is sarcastic evidence of the critical stance via the dominant myths of contemporary Brazilian society.
In light of the colonial past history of Brazil and her current economic dependence, the national identity is a long-standing issue. Hypocritic tricksters who deceit a lot to poor laborer often get flattering in Brazilian folklore and that kind of preguiça or laziness can be regarded as a form to fight against foreign snide merchant. Macunaíma, as an impuissant but loveable hero, is popular among people. When he slays the giant, everyone may identify with him. However, defeating the bureaucracy or hypocritic officials by individual is just a pastime enjoyed by masses. The final unsatisfying end of Macunaíma, is actually arranged by director to reveal that how frangible and petit these “victories” of hero are.
For those who are wanting the essential background knowledge of Brazil’s past turmoil, chances are one (like this reviewer) may find themselves unable to suffer fools gladly of Joaquim Pedro de Andrade’s cinematic adaptation of Mário de Andrade’s titular modernist novel.
Macunaima is the son of an indigenous woman who lives in the jungle with her two other sons, the white-skinned Maanape (Arena) and the dark-skinned Jigue (Gonçalves), and Macunaima, first played by the diminutive black actor Grande Otelo smack out of his mother’s womb, is, according to the voiceover, “a hero without a character”, and indeed we are instantly seized by the film’s foolishly nihilistic, surreal style that is vigorously honed by its vibrant palette, zippy rhythm and wacky performance, especially by Otelo, who makes a helluva fun as a bawdy tot inconceivably maturing into an adolescent man, during a roll in the hay with Jigue’s lover Sofará (Fomm), magic occurs, he becomes a handsome white man (José, who also plays the role of the brothers’ mother). Pigmentation matters, even for the primordial libido.
The family’s tapir-hunting good old days come to a halt when the mother dies abruptly (after Macunaima having a brush with a cannibalistic man), whereupon the brothers moves from the tribal land to Rio de Janeiro. Macunaima is captured by a feral guerrilla fighter Ci (Sfat), together they have a son (Otelo again), but bereavement soon catches up with him, and the desultory plot takes him up against a giant merchant Wenceslau Pietro Pietra (a funnily bulked up Filho), who inexplicably has the amulet from the deceased Ci, during which a cross-dressing Macunaima tries to seduce him only to no avail, and many a raunchy snippet punctuates the story with fitful energy and idiosyncrasy, some are hilarious but all shy of a sense of reverberation.
When the wrangle with Wenceslau reaches its improbable coda (a giant swing and a swimming pool full of dismembered bodies make unusual bedfellows to settle the dissension), Macunaima and his brothers returns to their sylvan turf, and this cradle-to-grave rhapsody ends with an inane splash that a connection towards this hammock-lying imbecile is rendered futile.
High on narcissism and male chauvinism, distaff parts are patly sexualized and depicted as erotomaniacs, Joaquim Pedro de Andrade’s MACUNAIMA dates quickly in its ideology and mores, but on a lesser note, its visual grotesquerie makes it a curio worth visiting, better, if one can comb through its social analogy which is by default missing from this reviewer’s limited perspective.
referential entries: Marcel Camus’ BLACK ORPHEUS (1959, 6.2/10); Antonio Carlos da Fontoura’s THE DEVIL QUEEN (1974, 6.3/10).
- 从DVD的介绍上看到了这个名词。感觉很新鲜，确也十分的契合。想来《黑色奥尔甫斯》也可归为“通俗热带主义”，只是比本片早了十年。
简单来说，电影《马库纳伊玛》是建立在巴西风格的关于人类起源流变归宿的寓言之上的通俗恶俗闹剧大集合。当然暗含批判精神，奇幻手法也是拉美魔幻现实一路。