By Eva Paulino Bueno (auth.)
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Extra resources for Amácio Mazzaropi in the Film and Culture of Brazil: After Cinema Novo
The navy, called in Portuguese o corpo da marinha (“the body of the navy”), is a male body, and therefore a haven where males can freely sing their views of marriage, children, and sex. If we accept José Ambrósio as a metonymy for all the other navy men, we can say that the first reason for him to be there is the love of a woman, but once there, engulfed in a masculine world, he can freely express his fundamental fear of the woman, a being who can defeat even a powerful man (the woman at the beach slaps the lieutenant), make him face the ungainliness of his body (the queen of mambo speaks with her body), and, as the lyrics of José Ambrósio’s song suggest, can weigh him down with “a bunch of kids” and finally devour him.
The last stanza quite logically goes back to the body—foot odor—and to the possibility that the scents of the body can make people faint. Not coincidentally, the place where the fainting occurs is a wedding party, again another indication of the correlation of body smell with sex, contamination, fainting, and finally death. Woman, physically absent from the barracks, is nevertheless the most fearsome force. 38 ● Amácio Mazzaropi in the Film and Culture of Brazil But the film does more than providing a space to sing about woman’s authority: it dramatizes the new soldiers being taught the art of survival in the woods.
Besides the latent Caipira in every character Mazzaropi plays during this phase, the presence of animals and mechanical objects signals a pervasive preoccupation with the slow but inexorable arrival of technology into everyday Brazilian life. But animal and machine do not appear as oppositional elements; rather, they appear as complementary entities, and the dramatization of their influence on the character’s life takes up a substantial part of the films. ” That is to say, boundaries between humans and animals are too thin, if existent at all.