User Reviews

This is like watching a Jean Genet novel translated into Portuguese and relocated to Brazil, circa 1930. All the characters are present: thieves and whores, drag queens and murders, love and hate. Lázaro Ramos, as Madame Satã, gives a wonderful performance that gives real meaning to the word `fierce';a complicated man whose only possible response to a world that hates him is to rage against it. And what rage! And what love! The family he pieces together, as wounded and damaged as he is, provides the only constant in a life that poverty and exile have doomed to chaos. Karim Ainouz, the director, must be congratulated on this courageous film.

As a Dutchman it is hard to judge the historical content of the film. What I've seen was very interesting. Considering the fact it is made after a true story it makes it even more special. The film covers many aspects of life in Brazil in the thirties. Although it is often shown in broad lines it's convinces me. It made me think of the class struggle in my own country. In Dutch you say: als je voor een dubbeltje geboren bent wordt je nooit een kwartje (when you are born as a nickel you'll never become a quarter. In a way it is an optimistic movie. Despite of all the setbacks and jail sentences, the main character does not get broken. Madame Satá becomes a real success winning several prices in carnival parades and other events. I truly admire the actors, especially Lázaro Ramos who plays stunning. The camera-work is great. The special effects are modest and well done. The music in the film is beautiful. I really enjoyed this movie. This movie deserves a wide audience.

"Madame Sata" is a movie that depicts a bygone era. This colorful film directed by Karim Ainouz concentrates on the life of a charismatic man who lived an interesting life. We are taken to the Rio of the 1930s to witness the night life that flourished in the bohemian Lapa neighborhood, with its many dives and night clubs where all kinds of people mixed together.

This is the story of Joao, a poor black man who is a homosexual living in a macho dominated society. The film opens as Joao is being processed because of a crime he committed. We watch his face in a close-up where an off camera voice is reading what he did, and then we are taken back to watch his life in flashbacks.

Joao, who is an assistant to a French third rate chanteuse, is seen backstage imitating the singer in his own way, which is much better than what that tired woman does on stage. Joao lives in a household that includes Laurita, a friendly prostitute, and Tabu, a gay man who loves dressing as a woman, even for house work.

This was the era where the movies glorify those larger than life women who inspired gays all over the world to imitate them. Joao feels the attraction and after losing Renatinho, he asks the friendly Amador, who owns a bar in the Lapa district to give him a chance to perform in the style of the great divas of the era. The result is an instant success because of the innate talent in Joao. Alas, tragedy strikes when a loud mouth drunk begins to insult Joao, who decides to take matters into his own hand with dire consequences. In real life, Joao was in and out of prisons all his life.

Lazaro Ramos does a fantastic job portraying this complex man who was ahead of his time. Mr. Ramos is the best excuse for watching this Brazilian film that shows that seedy side of a society condemned to live in poverty and need. Marcelia Cartaxo plays Laurita, a true friend, who stuck by Joao no matter how bad things got. Flavioi Bauraqui is another asset in the film appearing as Tabu, the other member of Joao's household. Fellipe Marques is perfect as Renatinho, the man who loved Joao.

"Madame Sata" offers a nostalgic look at the life in Rio during the 30s and it's based on the true story of the man who was made famous for his originality and contribution to a society that tried to keep him away from mixing with them. This is a great directing job by Karim Ainouz, who with the writer, Marcelo Gomes, takes the viewer to a magical ride to the exotic life of that long gone Brazil.

Built on subtly-nuanced performances by an outstanding cast, this film is a real cinematic gem. From the period costumes to the cinematography to the music, everything fits together. Lazaro Ramos as Joao Francisco dos Santos gives a tour de force performance especially powerful given the range of emotions necessary for the role. But all of the actors shine, under the demanding, gifted direction of Mr. Anouz. In some very long takes, for instance when Laurita tells dos Santos of the death of Rehatindho, all aspects of the craft are called into play. It cannot have been easy to maintain for such a long take.

The story is inspirational in the sense that the human spirit triumphs, love fulfills, talent overcomes in even the most sordid circumstances. Whether in Berlin or Brazil, life is, most certainly, a cabaret.

I found this movie mesmerizing, both due to the lead performance and the depiction of a time and place previously unfamiliar to me. A previous user comment said that Jaoa is heterosexual and that Lorita's baby is his. Just for clarification, he is not, and neither is the baby. I don't know how accurate this bio-pic really is in portraying the life of Jaoa Francisco vos Santos. But the character is a perplexing and complex mixture of violence and tenderness, talent and self-destruction. Clearly a victim of internalized homophobia and brutal class hierarchy, Jaoa knows he is destined for greatness, but can't keep his underlying rage from exploding all over everyone, friend and foe. It's dog eat dog in the slums of Rio, but Jaoa creates a family with a female prostitute named Lorita, her baby(on whom Jaoa dotes sweetly), and the greatly put-upon and abused servant, Tabu. Jaoa takes one step forward, then two steps back--straight in to prison, over and over. The real Jaoa Francisco vos Santos was a highly celebrated female impersonator and lived to the ripe old age of 76, despite an extremely punishing existence. I think the film reveals naked humanity, sometimes the viewer is horrified but can't stop peering into the wreckage.

I felt a gap between the movie itself, and the closing credits in which later history about the Madam Sata character is narrated along with film clips of Rio Carnival. That gap is a jagged edge for me, and yet I cannot propose a smoother ending or smoother inclusion of the personality of Madam Sata into the main.

Other than that comment, I was caught into the excellent casting, direction and editing. The documentary seemed to be somewhat detached in time although we knew the inclusive dates as it covered multiple issues of race, prejudice, anger, bigotry, self-identity -- and all things that are experienced or tested by humans in sexual drive and satisfaction.

It is in the latter that we definitely feel the struggle, violence, growth and pride of Joao Francisco dos Santos as a strongly driven heterosexual man that ultimately yields to his comfort in cross-dressing while maintaining a jagged, devoted relationship with Laurita and her/his child.

Wonderful mosaic

When I was a boy, Madame Satã was a legend in Rio de Janeiro. João Francisco dos Santos was born in the turn of the century, and was famous for being a very controversial person: homosexual, black, poor, artist, a very violent and excellent fighter and a symbol of Lapa, where he lived. This movie is the dramatization of the ten years before the creation by João Francisco dos Santos of the character Madame Satã, inspired in the 1930 Cecil B. DeMille's Madam Satan (unfortunately, this movie has not been released in Brazil and I have never had the chance to see it). 'Madame Satã' is another great example of the marvelous moment of the Brazilian Cinema. The direction is very precise, using old parts in the city of Rio de Janeiro specially in Lapa and Santa Teresa and a high level photography to recreate life in the 30's in Old Rio. The cast is fantastic, highlighting the performance of the stunning Lázaro Ramos, who is also the leader actor of the excellent and very recommended 'O Homem Que Copiava'. The story, as I previously mentioned, is limited to a short period before the raise of Madame Satã to the scenario of Rio de Janeiro and is very realistic, inclusive showing the homosexual activity of João Francisco. My vote is eight.

Title (Brazil): 'Madame Satã'

I feel proud about the Brazilian cinema of the last years. Although facing many difficulties, mainly financial ones, the Brazilian film-makers are proving that it is possible to make a truly high level cinema here.

"Madame Satã" is just another example of this new Brazilian cinematography. Excellent photography, which really brings to the screen the mood of 30's bars and nightclubs from Lapa (Rio de Janeiro traditional bohemian neighbourhood, known also for its violence). The camera is "drunk" and "high" in many moments, in others is able to show tenderness in an ultra violent and uncontrolable character (the scenes where João Francisco takes care of Laurita's baby). The cast is excellent, with a great merit of young Lázaro Ramos, performing a character that has everything to lead to exageration or to a ridiculous acting; even though, Lázaro manages to bring to life in a realistic way someone who is a homosexual with feminine behaviour in some times and in other times is a scary fighter, who could deal with 3 or 4 opponents bare handed.

The main achievement of the film, though, in my opinion, is that the director wanted to show the personality of João Francisco, not worrying too much in telling a story. The plot is almost absent, we are invited to make part of João Francisco's turbulent, violent and difficult life through Lapa's gethos and bars, dealing with prostitutes, police, thugs and dangerous people. We can understand why Francisco,later called "Madame Satã" lived that way (even though we may not agree with it) , having in one hand the fascination for a fairy tale world of fantasy, with songs in French and taking care of a baby and in the other hand dealt with streetfights, robbery and eventual imprisonments in jail. If it is difficult for someone to be poor, black and homosexual in nowaday's Brazil, imagine in the 30's!

Great movie, great acting, great photography, great editing, the only thing I can do is give it a 10!

Madame Sata is one of the most colorful, agitating, controversial, shifting, restless, erratic films you could ever watch on silver screen. The protagonist is also the antagonist with his often irrational and aggressive behaviour, possibly a trademark of Joao Francisco himself on which the film is based on, although this could be one of the film's flaws. The characters are as lively and colorful as he is and the acting is quite well, too.



An activist and a pioneer in many ways in the Brasil of 1930's, he could be seen as a gay activist, a transvestite activist, a swinger activist, a one-man-show pioneer, a strong, willful, self-confident and proud individual who defies almost all possible rules, regulations and conventions of his time, and not because he wants to be standing out.



Although the story line and Francisco's character are quite fanciful and interesting, the dialogues seem to be pretentious, the character build-up insufficient and the editing quite confusing, causing the overall feel to be incomplete and puzzling.

João Francisco dos Santos was a real life Rio drag queen or effeminate performer in the Thirties and Forties who was a singer and dancer and a fighter and lover who went to prison many times in his 76-year life including ten years for murder, yet came out after that long stretch and immediately won the prize for the best costume in Carnaval, a boldly spectacular one based on Cecil B. De Mille's character `Madam Satan.' Ainouz's first film features a fiery, committed performance by the actor Lázaro Ramos. The movie's look is important and evocative: the images are uniformly dark and contrasty, not unlike some of Chris Doyle's glorious ones for Wong Kar Wai, with the color dropped down here so far it looks like tinted black and white, and this creates a vivid Brazilian Thirties look. You can smell the cheap perfumes and cologne and the brilliantine on the slicked back hair, and the sweat and the blood and the tears.

João epitomizes and transcends a type of tough, resilient, talented black `sissy' who's no less a man for being attracted to men. Born to slaves and sold as a child, he was consumed by a rage that only strutting and performing could relieve. João lives with what he calls a `limp queen' (Taboo, played by Flavio Bauraqui) whom he protects but often scorns, and a woman whom he's saved and who loves him (Laurita, Marcélia Cartaxo). The other member of the household is Laurita's baby girl. They all live in the low, sinister 'bohemian'quarter of Rio known as Lapa.

For a time João works as a theatrical assistant at a club where he mouths the French lyrics of the chanteuse and her recitation of a pastiche of the 1001 Nights - till he attacks her for being cruel and condescending to him and fights off a half dozen cops and then flees after robbing the club owner for not paying his salary. He has already connected with a lover, Renatinho (Felipe Marquez), a small, pretty light skinned man (and a petty thief) who begs João to show him how to fight. More than once João fends off surrounding teams of heavies or cops like some curious cross-dressing forerunner of Bruce Lee.

Madam Satã progresses through a series of darkly etched vignettes. The subdued lighting causes scenes to flicker out as if candles had burned away or the electricity had failed. At first it may seem as though there's not much here but atmosphere, ample though that may be, and because he's so rejected and lowly, João's flamboyant theatricality in every action begins to seem rather fruitless. But every encounter is intense - the vignette format aids in that effect -especially the love and war clashes between João and his `Indian prince,' Renatinho - and there's a strong sense of how this brave, irrepressible man lived his life. On first meeting the two snort coke and kiss in the club restroom and Renatinho follows João home fawningly after observing his courage, asking for fighting lessons all the way.

Another strong relationship is with Laurita, and still another is with Amadór, owner of the much friendlier bar where João eventually blossoms as a macho reincarnation of Josephine Baker. When these performances begin, the movie finally bursts fully into life and all its promises of repressed talent and latent theatrical exoticism are powerfully, if only momentarily, fulfilled.

Provocation by a little homophobic drunk after one of these performances by João follows, and João goes out and shoots the little bigot in the street. His arraignment for this murder frames the movie, but the narrative of his later years follows as a coda, with a voiceover during a highly abstracted set of red hued images of João dancing a kind of Samba tarantella in his spectacular long satanic Carnaval costume. The closing `elenco' (credits) with brilliant carnival music is almost more spectacular than João's triumphant Josephine-Bakeresque performances in the bar had been. One leaves the theater with a curious feeling of exhilaration. This is a movie that really builds and builds. The overriding notion it fosters is one of diamonds in the mud, beautiful tropical flowers that blossom in a swamp. Perversion and exoticism here seem not limp and flaccid but brave and vibrant.

There's an energy in this first film by Karim Ainouz that gives promise of an inextinguishable life force that's only begun to be set loose on the screen. Lázaro Ramos, as João Francisco dos Santos, embodies his part completely. Exactly why some writers have found this movie incoherent is hard to see. Perhaps they weren't properly tuned in. And it seems that some Brazilian viewers were put off. Well, the material is unconventional and bold. The sketches are impressionistic; the darkness leaves much to the imagination. But incoherent Madame Satã never is. Within the logic of talent and exclusion and bold desperation it all makes perfect sense, and the progression of a wild gay life is as clear as the many lives sketched so brilliantly in Kátia Lund and Fernando Meirelles' Cidade de Deus. 2002 was a splendid year for movies in Rio purely on the strength of these two.

An amazing lead performance, terrific, strong, stylistic lighting and camera-work, and good supporting performances highlight this true story of a violent, sad, sexy, gay Brazilian pimp and drag queen performer in the 1930s, and his two house mates/earners – one male and one female.

Touching, complex, never dull. but somehow doesn't quite add up to as much as it seems like it should. It spends so much time on some elements of 'Madame Sata's story, that it speeds by and glosses over other key moments, especially the ending.

None-the less, very worth seeing for all that's good about it, and forgivable for it's flaws.

What a total surprise. One sunny Afternoon, my associate and I wander into a dark little cinema in Cannes to see a little pubicised film.

From the moment the the turquoise beads on the bead curtain parted, and the rich tones of a Brazilian voice, spoke, we were mesmerised.

An incredible mix of doom, dispair and triumph in abject failure and disaster.

MUST BE SEEN!!!

This is a fascinating, extremely well done, documentary style Indie film about the life of a down and out guy who defies narrow definitions.

The story description focuses on the most outré elements of this man's life: Brazillian pimp, street fighter, drag queen, thief, criminal.

The outstanding achievement of this film, though, is to put his life into context, that he is also protector, father, dreamer, artist; and to neither airbrush, glamorize nor excuse his life.

This film goes further to put his life into context in the racial mix of Brazil of the 1930s, when slaves were freed but not allowed to hold jobs, the Brazil of Carnival where even the most macho men appear in drag. Deftly touching on all, but not belaboring any one of these elements of bigotry and systemic injustices, we are given a real portrait of an unusual family who are revealed in their entirety, not entirely good, not entirely bad, really human.

The performances of the main four characters are simply outstanding and raw, so much so that you begin to wonder if this really IS a documentary. The small supporting roles are all equally strong. A riveting film in all respects; here the art direction and filming styles really augment the gritty reality and emotional perspective of an edgy life in a difficult time and place.

This is a morally complex film, not for children at all, not for those who do not like indie films. If you see it on DVD, DEFINITELY listen to the commentary, the Director DOES achieve what he hopes to convey. This is not a film you "love" - it is one that deserves deep respect.

Madame Satã (2002) is more or less a biography of a Brazilian criminal, pimp, and abuser of both men and women. I think we are to understand that his actions are driven by his ambition to be a transvestite star in the Rio de Janeiro slums.

I don't know if the performances we see are meant to be evidence of talent--I can't judge what a Brazilian audience would enjoy in 1932. I do know that the protagonist's behavior was consistently cruel and explosively violent.

Nothing I saw in this film impressed me. It was shown at the Rochester Gay and Lesbian Film Festival. Is this the best film the committee could find about cross-dressing?

Karim Aïnouz is a master of penetrating deep the souls of old Rio de Janeiro downtown, what he would repeat almost two decades afterwards with Invisible Life. In this Madame Satã, particularly, he focuses on a famous and infamous character active in Lapa neighborhood in the 30's: a drag gay black capoiera-fighter pimp and scoundrel, dangerous and shining. He shows not only his actions, but his feelings, motivations, doubts, axieties, dreams... he shimows him as a human being, both cruel and kind as human beings may be. Great actor Lázaro Ranos proves to be the perfect cast, in perhaps the hardest role of his entire career. A other actors also perfotn quite well, in well developped characters. Cinrmatography, camera moves and art direction are wonderful. Action and fight scenes are perfectly edited. Gay sex scenes are well made and quite explicit, and may be received very difrerently depending on the spectator. I watched the film in movie theater in 2002, and now I was able to watch it again, more mature and attentive, being able to judge it and write a fair review about it.

Confused and shallow biography of Madame Satã, a notorious Brazilian homossexual thief fails in the attempt of give a large, acurate and more profound vision of a so curious and rich man. The movie just go on and on telling about his homosexual relationship, his exibitions as a gay singer in some old and decadent places but forget to portrait the human side of the main character, mainly his relations with the press, the intelectual of his time. The direction is electric but at the end the result is just routine. Ramos gives a superb performance as Satã but he doesn't save this lame misfire. I give this a 4 (four).

Opinions vary widely about the merits of this impressionistic real-life portrait of a colorful Brazilian 30's and 40's character. And it's easy to see why.

Depicted in a deliberately disjointed narrative, we experience various glimpses of Senor Santos' life, mainly his mid-period, prior to a ten-year prison conviction.

And while there are copious close-ups of the hot-tempered antihero and associates, we're not given much in the way of either a source of his rage or a greater context of his character development.

We're left to assume he's a complex personality, bitter about his lack of material goods, social standing, and education. But it's only a guess, for he or no one else really expresses cause--so we're left only with effect.

However, we're rewarded by a mesmerizing lead performance and strong work by the entire cast.

Presented as one of the jewels of film series in the northeast, called the Cinematheque, located in Cleveland, Ohio, attendees continue to be blessed by rare opportunities to view the best in international cinema.

If you don't feel uncomfortable to watch homosexual sex scenes, it's worth to watch it. Shows Rio de Janeiro when in a hypocrite society, who just ignored social problems like poverty, color distinction and others, that still existing. Tells a story in a simple way, without using any Hollywood's cliché - and shows how and why the violence grows on shantytowns or guetos in the main brazilian cities.

a perfectly mediocre, expendable picture about an old Lapa character. Lapa, FYI used to be the bohemian district par excellenceof Rio de Janeiro from the 20s through the 50s. This film takes place in 1932. The protagonist is a malandro (scally-wag) who was born in 1900 and died in 1976. He was sentenced twice. the second time for a first-degree murder. Although the cast is fine and energetic, there was no reason to invest in this kind of soft-core homo porn, with lots of tongues, sweat & pricks. I, for one, definitely do not see homosexualisty as an avant-garde attitude in principle. Satan was a poor misfit, but also a violent hooligan and a cowardly assassin, as this film, based on his own autobiography, actually shows . Indeed the film's success proves how low are current standards of undemanding movie audiences ... This is amateur filmmaking, badly scripted, poorly filmed (lots of socked closes & absence of tripods). The ocasional soundtracks compensates a little for that. We hear a vintage, lovely duo by Francisco Alves/Mario Reis singing Nilton Bastos' Se voce jurar, we have great Kitsch tenor Vicente Celestino singing Candido das Neves' immortal Noite Cheia de Estrelas. Satan himself, or rather herself does a curious impersonation of Josephine Baker, who by the way is also be seen in the excerpts from the original Madam Satan, directed by Cecil B de Mille in his most extreme, odd mood (the action of 'Madam Satan,' the original 1930 musical, takes place inside a Zeppelin!). May I add that I was at one time introduced to Madam Satan in person. This happened during a Baile dos Enxutos, which was not yet called a 'Gay Ball' then, at the teatro Republica, 1961. He was a discreet, short, middle-aged, short-haired mulatto in his early sixties. I never forgot his quick, perceptive repartee. He wittily remarked about two frolicking guys in my own mardi-gras group (the actor Heleno Prestes and his lover, theatre director Martim Gonçalves): "Bonecas tambem hein?" (sissies too eh?)

This is really a non-worthy movie. Worst than losing money, you'll lose time watching a whole lot of crap about a non-interesting lifetime part of an interesting character! I keep asking myself why Ainouz decided to tell us a story about the less interesting time of João's life! There are certainly much better stories in his late days. But no, we have to watch almost 10 minutes of gay sex which doesn't add anything to the movie instead.

I'm brazilian, and I really like our cinema, but I can't say that a bad movie is good. Don't waste your time.

It's a surprise to watch this movie, because we [brazillians] are finally having our movies being screened at major theaters, and that pleases me. But, let me talk about the movie. I was dazzled with the energy of this movie, because Lázaro Santos IS Madame Satã in such a powerfull way that is almoust scary. It might not have a very good plot line, but the way the movie was shot is incredible, it seems that the camera is loose, as wild as Mme Satã with a unique photogray[if you watch carefully, you'll see that the director explores the shadows and use an artifice of 'portrait' to limit the screen...and the camera's iris-or diafragama- is so open that only one object is visible at the time] and an extraordinary soundtrack!!! There are some scenes that are so powerfull that I think beats one particulary scene from "Hable con Ella" when Lydia faces the bull for the first time. Don't avoid this movie because of the homosexualism, because then you are going to be stupid enough to miss it! A new brazilian movie that is not limited by the difficulties to produce a movie here. A must see