By Eva Paulino Bueno (auth.)
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Extra resources for Amácio Mazzaropi in the Film and Culture of Brazil: After Cinema Novo
The young woman Dalila, in her turn, changes from a dancer to a seducer, a wrestler, and finally an angel who saves Izidoro from a bar brawl. Even though these metamorphoses all have a comedic character, they imply that anything can become something else. They express the main conflict in the narrative, which exposes the fragility of identity and the chances of paternity. The development of these conflicts is very subtle. When the film starts, Izidoro wakes up on a single bed. Because the wife appears in the room with a little girl in her arms and Izidoro asks how Clarinha spent the night, we are left with the impression that the child’s fever is the reason Izidoro has Between a Cow and a Truck ● 29 spent the night away from his wife and slept in a single bed.
More than provoking laughter at the obvious joke when Candinho says that he must be “a Turk,” the film reaches a higher level of identification with the audience who know all too well the nightmares of a disorderly and inhuman bureaucracy imposed on a rural-based society whose individuals’ relationship with “the law” is always fraught with fears of inadequacy due to a lack of documents, of status, and of rights. The next time we see Candinho, he is back on the street. We never find out how the matter of his being a Brazilian is solved.
The elegantly dressed boss calls her lawyer, the insurance 40 ● Amácio Mazzaropi in the Film and Culture of Brazil agency, and a propaganda agency to report the disappearance of the cat and to offer a reward to whoever brings it back. The scene now moves back to Arlindo, still rummaging garbage cans. In one of them, he finds a sleeping cat. The cat, which obviously is the madam’s cat, starts following Arlindo and shares with him a series of adventures with thieves, religious people, police, and even ghosts.