#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – In 1997, before the visit of the pope to Rio de Janeiro, Captain Nascimento from BOPE (Special Police Operation Battalion) is assigned to eliminate the risks of the drug dealers in a dangerous slum nearby where the pope intends to be lodged. Captain Nascimento is trying to find a man to replace him because his wife is pregnant and he intends to quit the command and become a trainer of the new recruits. Meanwhile, the two idealistic friends Neto and Matias join the Military Police force expecting to become honest policemen and fight the criminals. However, they see only corruption, lack of competence and stupid bureaucracy in the Military Police, and after a serious incident in the Morro da Babilônia, they decide to join the BOPE. The lives of Capitain Nascimento, Neto and Matias are entwined along the next months, first in the tough training period and then in action against drug dealers. Nascimento believes that Neto could be his substitute, but his impulsive attitudes jeopardizes his choice. Later, the intelligent Matias seems to be the correct choice, but he needs to prove that he has heart.
Plot: In 1997, before the visit of the pope to Rio de Janeiro, Captain Nascimento from BOPE (Special Police Operations Battalion) is assigned to eliminate the risks of the drug dealers in a dangerous slum nearby where the pope intends to be lodged.
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|8.1 Votes: 1643 Popularity: 43.617|
An impressive film (shame about the superficial and reactionary reviews)
Elite Squad is an impressive and enjoyable film. It is well directed, well acted, and well worth watching.
There has been a lot of criticism of Elite Squad for being fascist. Such a perspective is disappointingly superficial. Too many critics have failed to distinguish the narrative perspective from the ideological perspective of the film. Although an admittedly reactionary and authoritarian BOPE member, Captain Nascimento, narrates it, the film’s primary criticisms are regarding low pay for police, systemic corruption, and, the middle class’s irresponsible consumption of drugs. As for any feeling that the brutal violence is justified that a viewer may be left with, this has more to do with the fact that in certain extreme circumstances desperate times call for desperate measures.
Elite Squad is a remarkable film. The film opens up the brutality practiced by both sides, police and bandits, becoming even more frightening
Based on the book written by former officers of BOPE (Battalion of Special Police Operations) André Batista and Rodrigo Pimentel and anthropologist Luiz Eduardo Soares, the feature portrays the situation of the police of the State of Rio de Janeiro seen through the eyes of Captain Nascimento (Moura), on the occasion of Pope John Paul II’s visit to Brazil, in 1997, a famous visit by the camp mass at Aterro do Flamengo, made for 2 million people. Through an ingenious stitching of the script, which starts from a shooting in the same block where Rap das Armas plays, the text pauses and presents us with events from months before, highlighting Nascimento’s personal life, his refusal to talk about problems personal relationships, his relationship with his wife and the nervous crisis caused by the increase in responsibility for the “mission of the Pope” and the proximity of the birth of his son.
Along with Nascimento’s story and his opinions about “The System”, his narration about corruption within the Police and what he, at BOPE, has done to change this reality, we see a bifurcation in the plot, which fits in a way that doesn’t quite fit organic and to the detriment of the presentation of other problems in the Corporation, which would bring much more benefits to the film, the aspirants Matias (André Ramiro) and Neto (Caio Junqueira) both in excellent interpretation. With different behavior and worldview, united by a childhood friendship and the fact that they are honest policemen, Matias and Neto are highlighted in the script as the possible substitutes for Nascimento. A moral triad is then erected that meets the taste of different groups that assist the work.
The film does not present itself to us in the form of escapist entertainment. Wagner Moura’s off-screen narration from the first minute gives the certainty that the story that will be told was not necessarily built for immersion in fiction, but to illustrate a reality. A reality that is closer or more distant from us, depending on who watches, but still an undeniable reality. Elite Squad already starts (pardon the pun) shooting all over the place. I can’t stand the rhythm, the lyrics (?) And I don’t even consider music, but it is undeniable that opening the film by letting go of funk was a more than right choice. Especially because it places the people in the armchair and opens up the reality of Rio’s favelas. The opening with part of the credits follows, rescuing a hit from Tihuana and then, my dear, you already realize that the success of this production is not a matter of chance. It is a masterpiece. Changing the chronology and playing with time as the plot unfolds is nothing new. City of God used the same resource, but it shows that there are Brazilians who know how to make films out of the standards and with quality.
In favor of the narration in off, it is worth saying that it is not limited to verbalize the scene that is shown.
Nascimento is yet another commentator on the action: the film opens with a disastrous entry by the Military Police at Morro da Babilônia, an invasion that triggers exchange of fire with the traffic and forces BOPE to intervene. Wagner Moura hasn’t even shown his face in the film yet, but we already know what he thinks of the situation – “if it is to do it right, let BOPE do it alone”. Nascimento preaches the dominant philosophy within the Military Police Special Operations Battalion, an independent division of the Military Police: Rio de Janeiro is at war, and in wars no prisoners are taken. The book on which the film is based, Elite da Tropa, by André Batista, Rodrigo Pimentel and Luís Eduardo Soares, mixes the experiences of a BOPE officer, Pimentel, with analyzes of the situation of drug trafficking in Rio. Therefore, Elite Squad does not (and would not) disseminate the worldview of the officers who make up the guard.
How, then, can the “humanist” viewer buy Nascimento’s speech? Director and screenwriter Bráulio Mantovani draws a very clever nonlinear maneuver. As the shooting opens the film, it is therefore assumed that it will end as well, with a good climax and a good flashback. It turns out that the case of Babylon is resolved in the middle of the film. From the middle, as if Elite Squad started again, we follow how two other PMs, Neto (Caio Junqueira) and Matias (André Ramiro), central in the Babilônia subplot, will join BOPE. There is no way to reject Nascimento’s philosophy, particularly from the perspective of Neto and Matias, because José Padilha establishes a relationship of gratitude between the three protagonists. Neto and Matias got into trouble in Babilônia and Nascimento went up to save them. It was imagined (at least I imagined) that the shooting at the funk dance would conclude the film, but deep down the case of Babilônia is just the trigger. The logic is absolutely brilliant in his Machiavellianism: when Nascimento, personifying the Battalion, extends his hand to Neto and Matias, a commitment is made there. The two idealistic policemen, who spent the first third of the film in the midst of stranded paperwork and vehicles, become the Faustos (particularly the rational Matias) of the powerful Mephistopheles that is Nascimento. There’s nothing to discuss: as opposed to PM’s purgatorial paralysis, BOPE’s discipline is a hot show from hell.
Another point worth mentioning is the figure of the antagonist, who does not exist. The villain is the situation that the protagonist finds himself in. And the captain’s voice off reminds the viewer right from the start: “… it either gets corrupted, or it goes to war.” There are many gems in the film and all, without exception, make you dive into the underworld of corruption in Brazil. Because the film portrays the police in Rio, but mirrors an endemic situation in the country. The issue, for example, of the coexistence and – also involvement – of upper-middle-class students with drug trafficking has given rise to a good discussion. And when it reveals the thinking of young people in a Law course, criticizing the police for their actions, it shows the inversion of values that is the square root of an obtuse vision that society – in general – has of itself. Whoever corrupts is a bandit. Point. And Captain Nascimento thinks so and “passes the finger” on whoever helps drug dealers to arm themselves.
The film grows up with a good dose of exploitation and activates discussions that, if they were already controversial in 2007, would become a social issue, with political representation in turmoil and polarization of opinions in the following years. The way in which the NGO is presented, the not necessarily formal line of the script on the so ironic Human Rights in social application – seen through a work on Foucault’s Watch and Punish -; the tone of Nascimento’s speech (which, obviously, analyzes the issue of banditry through the eyes of those who are charged with confronting it) and the violence shown served as ingredients for countless debates about Public Security, dealing with drug trafficking and endemic corruption in official media, something that in Elite Squad 2 would become even more evident.
Partially shot in the hills of Rio de Janeiro, Elite Squad has an impressive tone of veracity – and the logistics involved in the filming of a long shooting sequence in the favela certainly must have represented an operational challenge for the production worthy of the BOPE missions ( and the sound design of the feature is brilliant, as we can easily see in the tense battle between police and drug dealers). Likewise, editor Daniel Rezende does another magnificent job not only in intensifying the confusion and despair of those involved in the shooting (including dozens of civilians caught in the crossfire), but also in the rest of the narrative, which finds the right rhythm so much by becoming slower to focus on character development as it focuses on the long and absurdly draining training that Neto and Matias are subjected to. In addition, by employing frequent dry cuts during the dialogues in the same scene, Rezende creates a constant tone of urgency and nervousness, which is fundamental in a story like this.
Depicting the violence of his universe without making concessions, Elite Squad opens up the brutality practiced by both sides, police and bandits, becoming even more frightening when we realize that we are witnessing recreations that, despite being dreadful, probably still pale in the face of that really happens in that war. On the one hand, it is impossible to ignore the stupidity of the methods of Captain Nascimento and his men, who beat suspects and do not hesitate to smother them with plastic bags in order to obtain the information they want; on the other hand, it is chilling to note the unspeakable cruelty of the traffickers – especially in a shocking sequence in which we witness two executions that well reflect the reality painted in Notícias de uma Particular Guerra and which rivals the unforgettable scene that shows the death of a boy in Cidade de God.
Serving both mass cinema and denouncement cinema; opposing those who find it another film that sees it as a way to problematize violence, its causes and consequences; Elite Squad is, without a doubt, a remarkable film. The many forms of violence and the veracity with which they are treated end up having an approximation effect for us through fear and identification, because even if we do not experience the situation of the hills on a daily basis, we know that the tentacles of urban violence seep from the places where it really explodes and end up reaching everyone, from the exempt who marches for peace but buys merchandise from bandits, even the drug traffickers and addicts who, despite everything, remain in power, supporting and increasing laws that guarantee that almost nothing of this scenario changes .
Original Language pt
Runtime 1 hr 55 min (115 min)
Genre Action, Crime, Drama
Director José Padilha
Writer André Batista, Bráulio Mantovani, José Padilha
Actors Wagner Moura, André Ramiro, Caio Junqueira
Country Brazil, United States, Argentina
Awards 47 wins & 17 nominations
Production Company N/A
Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Camera Panavision Cameras and Lenses
Laboratory Cinecolor, Brazil, Megacolor, Brazil, Technicolor
Film Length 3,167 m (Portugal, 35 mm)
Negative Format 35 mm (Kodak)
Cinematographic Process Digital Intermediate (master format), Spherical (source format)
Printed Film Format 35 mm