In 2016, a noteworthy trend emerged in Hollywood—celebrity couples who were considered rock-solid began to split despite the looming spectre of divorce. This phenomenon quickly captured public attention, and its ripples extended far beyond the glitzy streets of Hollywood. Today, it seems that even Brazil is grappling with its own relationship crisis.
Laura Wasser, a prominent Hollywood celebrity lawyer, has drawn connections between this trend and the rising wave of women's empowerment in popular culture. This empowerment is epitomized by recent milestones such as 'Barbie' (Greta Gerwig, 2023), a film that shattered records in both domestic and global box offices, and the world tours of pop stars like Taylor Swift and Beyoncé. Forbes reports that approximately 7 in 10 heterosexual divorces are now initiated by women. In fact, an article published in August by the Huffington Post revealed that some viewers of 'Barbie' claimed the movie played a role in their breakups with boyfriends.
Yet, amid these turbulent times, Brazilians can find solace in the most beloved national couple. Eduardo and Mônica, not only immortalized in the Legião Urbana's 1986 album 'Dois,' but also recently brought to life on the big screen in 'Eduardo and Mônica' (René Sampaio, 2020). This cinematic adaptation tells the timeless love story of an unlikely couple in a format that differs vastly from a mere four-minute song. It's important to acknowledge that these are disparate formats, each demanding its unique alterations. A four-minute song can never truly replicate the depth and nuances of a two-hour feature film, and vice versa.
René Sampaio presents vintage cinematography with golden-yellow hues, evoking a strong sense of nostalgia. This style might reflect his own experiences during Brazil's transition in the 1980s. For those unfamiliar, Brasília became the capital in the 1960s as part of a promising modernization project for the country. Brazil had recently shifted from an agrarian economy to an industrial one.
The film offers a journey back in time within the backdrop of the love story, both visually and audibly. Visually, it employs props such as cassette tapes, Walkman players, payphones, wired telephones, ATMs, typewriters, radios, and wristwatches. The soundtrack is also a nostalgic treat, featuring a blend of international and national hits. Additionally, it incorporates elements from Brazilian childhood, like Playmobil toys, button football, and telenovelas. The portrayal of Brasília is particularly intriguing, capturing a turbulent period during the last decade of the military regime, and not coincidentally, as the birthplace of Brazilian rock.
Legião Urbana, the band behind the source material, is paid homage in the film's soundtrack. Additionally, Fabrício Boliveira, who played the leading role in Brazilian Western (René Sampaio, 2013) makes a cameo appearance. This was another tribute to the band.
As expected, the love story deepened while still preserving Renato Russo’s essence, albeit with a subtle twist at the beginning. This dimension transformed them into the Romeo and Juliet of Brazilian society, forging a connection with contemporary youth.
Mônica (Alice Braga) embodies the persona of an anti-dictatorship alternative cult woman, whereas Eduardo (Gabriel Leone) is the grandson of a traditionally retired military figure. She starkly represents everything his grandfather condemns: 'communist,' encapsulating her political stance against the military dictatorship, along with being a pot smoker and a supporter of minority groups such as the LGBT+ and Black communities. Furthermore, she is an independent, empowered woman who breaks away from traditional domestic roles. Mônica is a medicine student and an artist. This conflict isn't confined to the 1980s; these societal groups continue to exist and conflict with one another. Political divisions still fragment Brazilian society.
From two worlds apart, conflicts arise, but Eduardo and Mônica were connected by heart. They live 'happily ever after' in the eyes and ears of Brazilians. 'Eduardo and Mônica' provides a bridge between generations and social groups that remain constantly divided—socially, politically, economically, and geographically.
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