Ohne Schlips und Kragen

In São Paulo, the worker Tião (Carlos Alberto Riccelli) is the son of the idealistic Otávio (Gianfrancesco Guarnieri), who tries to organize the workers with his friend Bráulio (Milton Gonçalves) against the exploitation of the employers. Tião's girlfriend, the also worker Maria (Bete Mendes), got pregnant and he decides to get married with her in a hurry. Tião was raised in the repressive period of the Brazilian dictatorship and is very afraid of losing his job, while his father has a totally different political position. Tião believes that the struggle between classes never changes, while his father has an opposite opinion, having confidence in better days. His mother Romana (Fernanda Montenegro) is the balance of their family. The dramatic story is not conclusive, portraying a period in Brazilian history when the workers were trying to organize the strikes and other movements against the employer, after a long period of dictatorship. Having a magnificent interpretation of an outstanding cast, this movie was awarded with the Golden Lion – Special Jury Prize - in Cannes Festival (1981), and also awarded in minor international festivals in Cuba (1981), France (1981) and Colombia (1983), besides winning four prizes in a national festival (Air France). In the present days, the president of Brazil is a former worker, derived from the labor union and elected by the hopeful people, with the expectation of improving the life of our suffered people. He was one of the men who fought against the dictatorship and organized the movement of workers in Brazil. Ironically, he seems to have forgotten his campaign promises and origin, and Brazil has presently one of the highest unemployment rate in our history. In the end, unfortunately it seems that Tião was right. My vote is nine.

Title (Brazil): `Eles Não Usam Black Tie' (`They Do Not Wear Black Tie')

This award-winning 1981 film is as realistic a portrait as exists about the struggles of working-class families in industrializing Brazilian cities. The two families whose stories are told, live out the contradictions, violence, and almost overwhelming difficulties that are part of living in Sao Paulo, Latin America's most industrialized metropolis. The film won Fernanda Montenegro (CENTRAL STATION) one of her first international best actress awards, and the film itself was awarded the Special Jury Prize in 1981 at the Cannes Film Festival. It's definitely one of the best films to have come out of Brazil in the 80's.

Beautiful political movie about the automotive Union fights for a better life. The struggles between 2 generations in the same family: father and son. It was based on a theatrical play with an amazing screenplay.

This movie contains one of the most beautiful and sensitive scenes in cinema: wife and husband sorting and picking beans from the table, the camera focus in their eyes, hands and faces, with no single word spoken. That's enough for us to feel the bonds between them.

An incredible work, based on a necessary play, about the importance of the union (when it served the interests of the employees), strikes and scabs, dictatorship and Dops, the somewhat slow pace almost discourages, at the beginning, the everyday situations and the impeccable characterization of the 70s, the nude scenes of a charming and subtle lyricism, Bete Mendes beautiful and talented, no comments for our queen Fernanda da Montenegro, with Guarnieri... Beautiful, revolting, courageous, passionate...

"I didn't want you to be a hero, I wanted you to be a person!"

In 1980, the life of the young worker Tião enters a real typhoon: at the same time that he finds happiness in his marriage with Maria, who is pregnant, he must face the fury of his father, a strict union leader who becomes very angry when he learns that Tião broke the workers' strike, fearing to lose his job.

A film with great national actors, shows the maturity of the people, the shock of generations, and principles in improving working conditions, an engaging and beautiful film, highly recommended.

The filmmaker Leon Hirszman, who was a great documentarist, made few films, but great, I quote from São Bernardo in 1972. As protagonists we have the great Gianfrancesco Guarnieri (The Quatrilho of 1995) and Fernanda Montenegro (Central of Brazil in 1995).