Finnish filmaker Mika Kaurismaki's Moro No Brasil is a fascinating film documenting one man's search for the roots of Brazilian samba. Covering 4000 kilometers and less known musical styles like frevo, maracatu, coco and embolada, Moro No Brasil is a personal travelogue revealing Brazil's rich musical culture and the part music plays in the lives of the Brazilian people.
Search for the Roots of Samba
Kaurismaki's serach for the roots of samba takes him on a musical pilgrimage that starts in the northeast state of Pernambuco. The first scenes highlight the traditions of the Fulni-O Indian tribe, move on to an interview with a local artisan discussing the craft of making musical instruments and colorful footage of the local population singing and dancing their music. The journey moves on to Caruaru, home of forro, and discussions with Jacinto de Silva and manca master Silverio Pessoa.
From there Kaurismaki takes us to Recife for some primo moments with frevo, then on to Bahia, candomble and some time in concert with Margareth Menezes. Finally reaching Rio de Janeiro, Walter Alfaiate sews clothes and talks/sings about life's experiences in some of the film's most moving segments.
Next up is Seu Jorge, brought up in one of Rio's favelas. He talks about being homeless and aimless for seven years before he decided to be a musician - after all, there was nothing else to do - and started down the path that eventually led to Jorge becoming a household name in his native country.
The Bottom Line
If you've just read the film description and are wondering (among other things): what is forro, frevo, candomble? What's a favela? Who's Jacinto Silva, Seu Jorge? The film is not going to provide the answers for you.
Kaurismaki has built Moro No Brasil on the premise that his audience is familiar with the wide variety of Brasilian musical forms and is simply trying to fill in some background as well as get a sense of how these various styles fit together and give us today's samba. There is little or no introduction to the various musicians that are introduced (although most Brazilian music fans would probably not need one) and as a result, you might find yourself spending a good part of the film trying to decipher what and whom you are watching.
That said, the film works on several levels and is colorful and entertaining even without the comprehension that would give it a more profound dimension. Think of it this way: if you were on the trip, you might not even have the benefit of the narrative that is provided in the film, but you would still find it enjoyable.
