The decision to examine Leon Hirszman’s They Don’t Wear Black Tie (1981) and Fernando Meirelles’s City of God (2002) is predicated upon their analogous portrayal of the toil and realistic conditions encountered by the working-class society in Brazil. The former focuses on a family of steelworkers situated on the fringes of São Paulo. At the same time, the latter occurs in a Rio de Janeiro favela, tracking the lives of juvenile individuals struggling to subsist in a hazardous and destitute environment. Both motion pictures use aesthetic methodologies to arouse sympathy and comprehension for Brazil’s underprivileged and muted citizens.
The specific segment chosen for scrutiny is the introductory scene of They Don’t Wear Black Tie, which depicts a work stoppage by the steelworkers in São Paulo. This scene lasts approximately four minutes and establishes the tone and theme for the remainder of the film. It commences with a close-up shot of a factory whistle blowing, followed by a sequence of shots displaying the steelworkers exiting the factory and congregating outside to begin their protest (Hirszman, 1981). Subsequently, the camera pans to a distant shot showcasing the workers marching down a dirt road with their fists raised in the air while reciting, “united we stand, divided we fall” (Hirszman, 1981). The segment culminates with a shot of the workers positioned outside the factory, waiting for the enterprise to negotiate with them.
The opening scene of Leon Hirszman’s (1981) film constitutes a robust and provocative representation of the working-class strife in Brazil. The aesthetic options utilized in the segment are implemented to maintain and impart the primary subject matter cohesively. The utilization of close-up shots of the factory whistle and the workers’ countenances imparts a sense of exigency and unity among the laborers, emphasizing their determination to contend for their rights (Hirszman, 1981). The application of long shots of the workers parading down the dirt road with their fists raised in the air accentuates the magnitude and importance of the protest, while the workers’ chant reinforces their collective voice and power.
The scene also employs sound as a powerful aesthetic mechanism to transmit the workers’ struggle. The sound of the factory whistle blowing at the beginning of the scene and the workers’ chant throughout the scene engenders a sense of unanimity and cohesion among the workers (Hirszman, 1981). The sound of the workers’ footsteps as they march down the dirt road creates a sense of momentum and advancement, highlighting their perseverance to fight for their rights. The use of diegetic sounds, such as the workers’ conversations and the sound of passing automobiles in the backdrop, generates a sense of veracity and authenticity, submerging the viewer in the laborers’ struggle.
The arrangement of scenes in a cinematic production carries significant weight in the overall context of the piece. It establishes the prevailing mood and underlying message that will pervade throughout the movie, showcasing the arduous struggles that the working-class community in Brazil endures while demonstrating their indomitable spirit to push for their rights. The workers’ refrain, “united we stand, divided we fall,” is a recurring motif in the film, underscoring the value of collective action and solidarity in the face of adversity (Hirszman, 1981). Moreover, the opening sequence highlights the movie’s principal characters and their connections to the strike, showcasing the individual predicaments they face within the larger working-class struggle.
Apart from serving as a potent tool in conveying the workers’ travails, the aesthetic techniques employed in the opening sequence also serve as a commentary on Brazil’s social and political realities. The film’s release coincided with Brazil’s military dictatorship, and the workers’ strike symbolized resistance against the repressive regime. The close-up shots of the workers’ countenances and the workers’ chant underscore the collective voice and power of the laborers, demonstrating their capacity to resist and challenge the status quo.
Contrastingly, the sequence scrutinized in the City of God is a fast-paced and action-packed scene towards the film’s conclusion. The scene follows Rocket, the protagonist, as he maneuvers through a violent shootout between rival gang members in the favela (Meirelles, 2002). The four-minute sequence employs various aesthetic techniques to depict a sense of pandemonium and hazard. The motion picture commences with a tracking shot of Rocket dashing through the favela while evading bullets and struggling for survival (Meirelles, 2002). The handheld camera operation employed in the scene generates an atmosphere of strain and necessity, swathing the observer in the turbulent and perilous milieu. Additionally, the scene encompasses an assortment of camera viewpoints, for example, images captured from low angles of the criminal organization’s members and close-up footage of bullets hitting the edifice’s walls and the ground, thereby intensifying the realism and impact of the scene.
Another fundamental artistic approach utilized in this scene is sound application. The assimilation of diegetic sound, like the characters’ screams and cries, corroborates the realism and tension (Meirelles, 2002). At the same time, the resonance of gunfire and detonations supplements the overall feeling of jeopardy and turmoil (Meirelles, 2002). Moreover, the scene also features non-diegetic sound, such as fast-paced and intense music, heightening the tension and danger.
The ordering of events holds great significance within the film’s larger context, as it culminates into a chaotic and violent finale. This sequence underscores the repercussions of the characters’ choices and actions, as numerous individuals suffer serious injury or death during the shootout. Rocket’s portrayal as the central character in this scene emphasizes the film’s central themes of perseverance and hope as he successfully navigates the violence and manages to evade harm.
The stylistic choices made in this scene give off a real sense of danger and chaos and shed light on Brazil’s political and social climate. The use of handheld filming methods and non-diegetic sound effects in this scene further emphasizes the seriousness and immediacy of the scenario. The movie depicts the never-ending cycle of assault and destitution that plagues the favelas (Meirelles, 2002). This scene also highlights the characters’ actions’ futility because they are caught in an endless cycle of reprisal from which it seems there is no way out.
The chosen scenes from ‘They Don’t Wear Black Tie’ and ‘City of God’ as a whole use various artistic mediums to depict the struggles and realities faced by Brazil’s marginalized groups. The proletariat’s fight is vividly and movingly depicted in the beginning sequence of Leon Hirszman’s film, and the shootout scene in Fernando Meirelles’ film emphasizes the negative effects of violence and poverty in the favelas. The characters and their struggles are depicted in both sequences using artistic techniques that also serve as commentary on Brazil’s broader social and political realities.
References
Hirszman, L. (1981). They Don’t Wear Black Tie [Film]. Brazil; Embrafilme.
Meirelles, F. (2002). City of god [Film]. Brazil; O2 Filmes.