By Eva Paulino Bueno (auth.)
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Additional resources for Amácio Mazzaropi in the Film and Culture of Brazil: After Cinema Novo
In the confluence of the liberated animals and the law, the city is thus reinvented as a space for politics and for sexual energies: now the mayor’s wife’s dog can come home with her new puppies, and the mayor has to accept this addition to the family, if he wants to have a family at all. The law, in this case, has had to accommodate itself to the realities and exigencies of the animal, of the body, and of sex. 6 One twin is a shoemaker, the other is a navy officer. The shoemaker ends up volunteering for the army because of his love for a girl.
The creation of the function of dog catcher is one example of law born out of the absence of, if not sex, intimacy. By withdrawing herself from her husband’s bed (or throwing him out of bed), the wife asserts her right to choose who she wants to be intimate with. In this case, it happens to be a dog. Since the couple does not share the same kind of love for the animal (as Linda Between a Cow and a Truck ● 35 and Jacinto do), the result is the proliferation of laws and the consequent confusion that spills into the political life.
At first, we see him as a dog barking from inside the truck. Later, he becomes a truck driver, an admirer of president Getúlio (Vargas), and finally a “betrayed husband” whose “wife,” Clarinha, has had puppies from another dog. If the truck and the dog can become human (or humanized), humans can also become animals. The man who hires Izidoro to take his furniture to Santos calls his wife “minha gata” (my pussycat) and she calls him “meu gato” (my cat). As it turns out, when Izidoro finally delivers the furniture in Santos, he concludes that the woman is no “pussycat” but an “onça” (a cheetah, an epithet used in Brazil to designate a woman who is ugly and angry).
Amácio Mazzaropi in the Film and Culture of Brazil: After Cinema Novo by Eva Paulino Bueno (auth.)