rohit_trip After watching many documentaries about prisons and inmates, I think this movie gets top marks for poor acting and useless subplots. Rodrigo Santoro as Lady Di, and Milton Gonçalves as Chico demonstrated good acts, but everyone else performed poorly. Carandiru highlights a 1992 riot and its consequences which only occurs in the climax. Thats alright, but we are not offered any comparisons or standards to let us know if excessive force was used, and if prisoners (always in party mood) were justified in rioting.Throughout we are subjected to irrelevant subplots -- none relevant to the climax. How does individual resentment build up against authorities? Yes the living conditions are horrible but most inmates seem well adjusted to prison life. When one knife goes missing, Ebony (who doesn't project good leadership or charisma) threatens that one man will die everyday, yet in the climax we see hundreds of shanks falling out of windows.In any prison, the relationship between guards and inmates can give a hint of what is going wrong, and if early prevention was required. Prisoners' reaction to control tactics employed by staff is valuable. Finally portrayal of dynamics among inmates are important. For example, inmates cooperating with staff is generally looked down at but here Ebony is a leader. By my standards, "The Shawshank Redemption" is the best example of a prison movie.My main gripe is that the movie doesn't build up to the final tension leading to the riot. Needed more research on prisons and less of fantastic camera-work.

paul2001sw-1 Prisons are a sign of the failure of our society. Society fails in that it is unable to prevent the original crime; and then again, in locking up those criminals in a world of squalor, drug abuse, and violence, ruled, in effect, by the criminal hierarchy whose delicate co-operation with the authorities is necessary to maintain any semblance of order. 'Carandiru', based on the memoirs of a prison doctor in Brazil, is a fairly conventional prison movie, telling us the criminals' stories (as told to their medic) of life both outside and inside the bars; but it's still an absorbing tale, with moments of humanity flashing through the holes in a very grim backdrop: the ending feels like overkill until you learn the sobering statistics of the real event on which it was based. Of course, the poverty of Brazil undoubtedly contributed to the terrible nature of the (now demolished) Carandiru; but this week the British government triumphantly announced its plan to build four new mega-prisons, another story it's hard to see ending well.

Boris Todorov Carandiru is a true hymn of humanity in all of us. What let the Brazilian riot squad shoot down over a hundred inmates was that following both prejudice and the professional drilling they had been subjected to, they regarded the rioters of 1992 as nothing but worthless scum. Bebenco does not defend his characters. Based on the eyewitness account of the prison physician, he presents us with assassins, murderers, robbers and drug-dealers who do not even claim they do not deserve their sentences (although many were kept in prison without convictions). What made them human was their continuous contact with the world outside. The visitation day scene is a memorable tribute to life in a truly Christian sense - everyone deserves to live and to hope not because of his own qualities or deeds, but because of the love others share for him. The character of the serial killer Dagger was essential to this purpose. His solitude in the midst of the modest pleasures of everybody else visited by his close ones was the first sign of the overcoming guilt which eventually took him to the preacher. Let this review not be understood as if the movie pursues to proselytize the viewers; I hope not to be too cynical to say that its prime purpose is to rejoice - to rejoice with the great diversity of human characters to whom Dr Varella and H. Bebenco paid their tribute.

jdesando 'Carandiru' is a mess, not just the blood flowing over the steps of the infamous São Paulo prison that was razed after a prisoner riot and slaughter in 1992. In 145 minutes, Hector Babenco ('Pixote,' 'Kiss of the Spider Woman') has too many episodes about different inmates that only tangentially and sometimes superficially relate to the central subject of AIDS prevention; frequently they are standard flashbacks to what the prisoners did to merit incarceration. A secondary and successful purpose is to reveal a highly structured prisoner society where justice is swift and not always wrong, where the only mistake is to give in to the civilian authority, at which point any freedoms are lost. Despite the crowded and unsanitary conditions, inmates are usually safer and healthier inside rather than out. The story is told mainly from a prison doctor's point of view as he interviews the inmates for AIDS screening and hears about their lives. Although he is way too happy in his work, he represents a humanistic attitude lacking in the prison officials and the world outside. Homosexuality, while appropriate for any prison tale, seems to dominate the entire long movie (145 minutes) and throw into relief the director/ writer's interest in the subject that began at least in 'Kiss.' One of the most affecting scenes is the marriage of a devoted, physically mismatched couple and the subsequent attempt by the smaller 'husband' to protect his bride. Babenco and the actors manage to relay dignity and gravity in a situation that could be laughable if not at least clichéd. Babenco was inspired to write this screenplay by a doctor who saved his life, a doctor who wrote about his experiences in this prison in 'Carandiru Station.' Although HBO's 'Oz' prison series was more insightful, no account could be as loving and socially concerned. Famous prisoner Oscar Wilde wrote in 'De Profundis,' 'A day in prison on which one does not weep is a day on which one's heart is hard, not a day on which one's heart is happy.' Babenco caught the hard sadness of prison life in 'Carandiru.'