Getúlio (2014)

The movie depicts the political crisis that led to the suicide of president Getúlio Vargas, in the 19 days that preceded August 24, 1954. The crisis began with the attempted assassination of journalist and politician Carlos Lacerda (Alexandre Borges) in August 5, 1954, at rua Toneleros, Rio de Janeiro, in which Major Vaz was assassinated instead. Investigations pointed to Gregório Fortunato (Thiago Justino), chief of Vargas' personal guard, as the orderer of the frustrated assassination. This incident was one of the most importants in the history of Brazil.

IMDB 6.8/10 from 426 users

Director: João Jardim
Writer: Tereza Frota, João Jardim (concept), George Moura, George Moura
Actors: Tony Ramos, Drica Moraes, Thiago Justino, Clarisse Abujamra
Rated: N/A
Runtime: 100 min

a new film about Brazilian president Getúlio Vargas by João Jardim, reminds me somewhat of Lincoln, the 2012 film about the American president of the same name. Both films focus on crucial events in the lives of their titular characters, both towering figures in the history of their respective countries, shortly before their deaths. Both are beautifully filmed with attractive period touches – the 1950s are palpable in Getúlio’s classic automobiles and fashions, especially the thick, black-rimmed glasses. But the differences are telling: Abraham Lincoln, as portrayed by Daniel Day-Lewis, was a man in control of the major events of film (at least until his assassination, of course); Getúlio Vargas, portrayed by Tony Ramos in this 2014 film, was a man losing control and beset by paranoia until he decided to take his own life.

Getúlio starts with the attempted assassination of Carlos Lacerda, a Rio journalist and implacable opponent of Getúlio, in August 1954. Lacerda survived the attempt on his life with minor injuries, but Air Force Major Rubens Vaz was killed in the attack. From here, the film becomes something of a political thriller, a fast-moving “whodunit” punctuated by a tense score that is occasionally overdone. The evidence implicates Gregório Fortunato, head of the president’s bodyguards. Although denounced in fiery televised speeches by Lacerda and by congressional opponents who demand his resignation, no evidence directly ties the event to Getúlio Vargas, and he refuses to resign. But his situation becomes increasingly untenable; the officers of the Air Force and Navy join in the calls for his resignation. Practically everyone but his loyal daughter, Alzira, and his son Lutero, abandon him; even Vice President Café Filho offers to resign with him. With a taste for drama that is not clearly evident in the film’s version of Vargas (but certainly was in the historical Vargas, who at times flirted with fascism, nationalized the oil industry, and became the figurehead for the U.S.’s ”Good Neighbor Policy” in Latin America during World War II), he shoots himself in the heart rather than acceding to these calls.

The film’s tone is somewhat uneven. By focusing on a conspiracy that never quite touches but gets very close to the chief executive, it is hard not to think of the more recent intimations of corruption that have dogged Brazilian presidents Lula and Rousseff. Rather than Spielberg’s lionized Lincoln, a leader whose competence and goodness far exceed the American politicians of today, Jardim’s Vargas is yet another disappointing leader that modern Brazilians are all too familiar with. But the film ends with what are its most moving scenes: historical footage of ordinary Brazilians mourning the death of “The Father of the Poor.” Right before the credits, Jardim shows a quotation from Juscelino Kubitschek arguing that Vargas’s suicide forestalled the coup of 1964 by ten years. The tired, out-of-touch president shown throughout the film then seems to become a martyr. In order for this ending to fit, the filmmakers should have shown more of the charisma and compassion of the real Vargas that resonated with the ordinary Brazilians who passionately mourned his death.
Ryan Schumacher Getúlio is showing at the Brazil Film Festival of Toronto (Nov 27th-30th).

Brazil Film Fest 2014 Review: Getúlio

On August 24, 1954, Brazil president Getúlio Vargas (Tony Ramos) committed suicide after an intense investigation which his government was caught up in. Nineteen days previously, an assassination attempt was made against journalist and politician Carlos Lacerda (Alexandre Borges), who consistently spoke out against Vargas. An investigation leads to Vargas’ security team chief, which makes many wonder if Vargas played any role in the assassination attempt. The crisis begins to increase, with calls for Vargas to leave office, while back-room deals are struck to force Vargas out.

The fascinating Getúlio covers the time between the assassination attempt, and the suicide of Getúlio Vargas. The film begins with a note that it’s inspired by an actual event, but the facts don’t really seem to stray from what actually happened. It’s a very interesting story, filled with more political intrigue than you would find in a fictional film, proving that truth is always stranger than fiction.

If there’s any problem with the movie, it’s that nothing is really done to show what kind of a leader Vargas actually was. Since the film only looks at a very small period of time, there’s no way to understand if this is something that was inevitable. What we see is a man who appears to care about his country, so you want to see him stop this act against him, but what about before this incident? Was he always such a good man?

Is Getúlio essential festival viewing?

A fascinating look at an important moment in Brazil’s political environment, but one that will be enjoyed more by those with a larger understanding of the people involved.

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