Imagine a film with all the intensity and violence of a gangster movie and the grittiness and realism of a documentary. Brazilian filmmaker, Fernando Meirelles, has managed to blend these genres in City of God. This foreign film was an Official Selection at the Cannes Film Festival 2002, and the screenplay won an award from the Writer’s Guild of America in 1999.

A compelling story, beautiful cinematography, and amazing acting make this a great picture. Each of these layers are expertly done. The story is based on true events, the cast is composed of first time actors, and the cinematographer relies heavily on natural light.

City of God is the name of a Brazilian housing project described as “far removed from the picture postcard image of Rio De Janeiro”. The story is told in three parts and spans three decades from the town’s settlement in the 1960’s to its decimation in the 1980’s. The diverse life paths of the two main characters, Rocket and L’il Dice, mirror the town’s decline.

In the 1960’s, children laugh and play under the bright Brazilian sunshine while the town hoodlums commit petty theft and vandalism. These “bad boys” are more likely to be detained by an admiring woman than by a policeman. The film has a light airy mood with its outdoor shots and natural lighting. Its reminiscent of the set up in gangster films like Goodfellas, where everyone is getting a piece of the pie, and no one is really getting hurt. But once the 1960’s criminals meet their fate, and Rocket and L’il Dice come of age, things get murkier.

The 1970’s usher in the reign of L’il Dice who changes his name to L’il Ze. He has developed a thirst for violence and the power it gives him, and embarks upon building a drug dealing empire. Leandro Firmino da Hora’s portrayal of L’il Ze is frighteningly realistic and sinister, and the lighting adds another layer to his evilness. The natural light barely cracks through the tiny windows in the dingy tenement apartments, and many scenes take place at night.

Meanwhile, Rocket feels more comfortable with a camera in his hand than a gun. He only comes in contact with L’il Ze when he wants to buy some marijuana, but he sees the power that a life of violence has given his childhood playmate. Actor Alexandre Rodrigues authentically expresses Rocket’s deep struggle with his desire to become a professional photographer and rise out of the slums. Rocket tries to convince himself that a life of violence is the only thing that pays, but his distaste of guns always gets in the way.

In the 1980’s L’il Ze leads the town into the period of time referred to as “The War.” The City of God has become a complete war zone where the drug dealers make the laws and policemen are ineffective. Bloodshed has become a constant, and guns are more plentiful than food and clothing. The raw violence is so intense it looks like a mafia movie, but the pain on the character’s faces is so real, it feels like a documentary. Many of the scenes take place at night, and the shots of children laughing and playing under the bright sunshine are replaced with scenes of young children running through dirty streets in front of dilapidated apartments, talking menacingly about what crimes they will commit.

Rocket is finally offered an opportunity to become a photographer for the city newspaper, but his assignment is to cover the drug war in the City of God. Again, Rocket must weigh his desire to rise out of the slums against his distaste for the culture of violence he would once more have to face.

The acting in the film is truly amazing. Though you have to read the subtitles, the expression on the actors’ faces and their inflection could alone tell the story. This young cast is primarily made up of first time actors who attended acting classes designed specifically for the movie. A few of the cast members actually live in the City of God.

Fernando Meirelles’ intention was to let the true story tell itself. He has accomplished his goal, and in doing so has created a wonderful film.

City of God will charm you at the beginning, compel you in the middle, and sadden you at the end. It is a very intense movie, and the fact that it based on true events, verified with actual television news footage during the credits, will astonish you. Fans of crime dramas and those who believe that fact is better than fiction who don’t mind reading subtitles will enjoy this excellent film.

Maryanne Ciaccia, 2002