It was funny, crazy and out of this world, specially When Ana Carolina made "Das Tripas Coração" I accepted its bizarrice, absurdity and abstract settings. Title (Brazil): 'Mar de Rosas' ('Sea of Roses' (literally) however, 'Mar de Rosas' in Portuguese is an idiomatic expression meaning 'everything is calm') Some surrealistic situations slightly recalled Buñuel style, but I am not daring to compare Ana Carolina with the master of the surrealism.
#SEA OF ROSES 1977 MOVIE#
Norma Bengell gives an outstanding performance in the role of the frustrated and wounded Felicidade and is the best this movie offers to the viewer, since the screenplay is too much bizarre for my taste. Yesterday I saw 'Mar de Rosas' for the first time and honestly I did not like it. In their house, the deranged Betinha provokes the most weird and surrealistic situations, when each character discloses innermost revelations. Dirceu (Ary Fontoura), a pretentious poet and frustrated dentist, help Felicidade. In a small town, Felicidade tries to get away from Orlando, but a bus hits her and Dona Niobi (Miriam Muniz) and Dr.
#SEA OF ROSES 1977 DRIVER#
After an incident in a gas station caused by Betinha, they are introduced to Orlando Barde (Otávio Augusto), the driver of the Beetle, and they decide to travel together in the small car to São Paulo. In the highway, she notes that a black Volkswagen Beetle is following their car. Felicidade believes she has killed Sérgio and she decides to escape to São Paulo with Betinha in the family's car. Sérgio (Hugo Carvana), Felicidade (Norma Bengell) and Betinha (Cristina Pereira) compose a dysfunctional family, and while traveling to Rio de Janeiro, Sérgio and Felicidade have another serious altercation, culminating with the aggression of Felicidade with a razor blade on Sergio's neck in a motel.
"Mar de Rosas" is refreshingly anti-cliché, and its critical and commercial success paved the way to Ana Carolina's very individual oeuvre that combines anti- conformism, feminism and social criticism with a delightful touch of surrealistic (black) humor. "Mar de Rosas" has some major lulls (especially toward the end) and is technically precarious, but the acting is inspired and, despite being ultimately a tragic film, you'll find yourself cracking with the loony dialog which is rather difficult to translate, as Ana Carolina uses a lot of Brazilian jeux de mots, adages and figures of speech in her trademark style of "free association". Betinha and Felicidade are followed by suspicious character Bardi (Otávio Augusto) and, after terrible "accidents" - Betinha sets fire on her mother at a gas station, Felicidade is hit by a bus while trying to escape from Bardi - the 3 of them end up being "helped" by wacky couple Dirceu (Ary Fontoura) and Niobi (hilarious, wreck-voiced Myriam Muniz). She's on the run with her mother Felicidade (Norma Bengell, returning to Brazilian films after a long sojourn in European cinema and theater), who has killed husband Sergio (Hugo Carvana) in a hotel bathroom. A non-sequitur, iconoclast portrait of middle-class family life, her protagonist Betinha (Cristina Pereira, perfectly cast) is a sort of teenage Mafalda (Quino's comic book anti-heroine): rambunctious, naughty, irrepressible, eager to be evil. Ana Carolina surprised everybody when, after many documentary shorts and a hit documentary feature about Brazilian dictator Getúlio Vargas, she jumped into anarchist, surrealist crazy drama/black comedy with her first fiction film "Mar de Rosas".
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