PROD Luiz Carlos Barreto, Newton Rique
SCR Bruno Barreto, Eduardo Coutinho, Leopoldo Serran
DP Murilo Salles
CAST Sônia Braga, José Wilker, Mauro Mendonça, Dinorah Brillanti, Nelson Xavier
ED Raimundo Higino
PROD DES Anisio Medeiros
MUSIC Chico Buarque de Hollanda, Francis Hime
In a small city of Brazil, Flor (a very good looking woman) marries Vadinho, a very handsome and erotic man. Once married she finds he is a good-for-nothing. She works teaching cooking to her neighbours but he takes all her money to gamble. One day he dies. Flor misses the goods of the marriage so she marries again with a very correct gentleman - the owner of the drugstore (Teodoro). Now she's very happy with her man, but misses the erotic moments with her previous husband. Then the ghost of Vadhino comes to earth to chase her.
'Dona Flor' Film On Local Screen
DONA FLOR'S first husband is dead, but that's just as well, since he was a grievous no-goodnik in his lifetime. He was a gambler, a wise guy and a womanizer, and he beat his pretty young wife shamelessly, pacifying her with the occasional moonlight serenade or nice gesture. Once he took her out to a fancy nightclub, where he bought her champagne and caviar and didn't even pinch the waitress.
Apparently, this man's only note-worthy talent was for lovemaking, and "Dona Flor and Her Two Husbands," at the Paris Theater, devotes more than enough screen time to that aspect of the marriage. And Dona Flor's second husband, a dopey druggist who drops a medicine bottle the first time he sees the pretty widow, is a sorry successor. So Dona Flor mopes and broods and smiles wanly, until one day her prayers are answered. Husband Number One is such a devil that he manages to come back, sans clothing, and pay his wife amorous visits while Husband Number Two isn't looking. Even if Husband Number Two were looking he wouldn't catch on, because he is slow-witted anyway and because death has conveniently rendered Husband Number One invisible.
This story, adapted from the novel by the Brazilian author Jorge Amado, would seem to have the makings of a bawdy "Topper," and indeed the film's final 20 minutes make reasonably amusing use of the dead man's return. But Bruno Barreto, who directed the film, devotes far more time to setting up the situation than he finally does to exploiting it, and the early part of the film has a dangerously uncertain tone. Dona Flor's life looks terrible, yet this is not a didactic film or even a particularly satirical one, so there's little to be learned from her plight.
There are various glimpses of Bahia and its customs, circa the 1940's, but the only interesting bit of local color is Dona Flor's recipe for crabmeat casserole. Dona Flor teaches a class in gourmet cooking: Husband Number One liked to sit in on the class and, by the by, fondle the students.
Sonia Braga, a Brazilian model and actress who plays Dona Flor, is called upon alternately to frown and to engage in various soft-core shenanigans. She is adequate to these demands, but her role is really little more than that of the butt of a family dirty joke.
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