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It was this petit-bourgeois, almost lumpen viewpoint, that explained Rodrigues ' antipathy towards the higher middle-cass intelligentsia that made much of the political Left of the period (" I'm not moved by marches of the ruling classes ", was he to say before a march of protesters against the military dictatorship ). Conversely, for those Brazilian writers that equated modernism in literature with support for social change, Rodrigues ' longings for a lost old order made it impossible to accept the reality of his formal innovations: for the great modernist Oswald de Andrade, Rodrigues ' literature was " nothing but a wretched newspaper feuilleton ", and Rodrigues himself " an ill-educated, illustrious, pervert ".
However, in 1962, Rodrigues ' 1958 play Boca de Ouro ( The Golden Mouth )-the tragedy of a mobster of the illegal Brazilian animal lottery ( jogo do bicho ) known for his set of gold false teeth, hence the title-was to be adapted to the screen by leftist director Nelson Pereira dos Santos, who tried to meld Rodrigues ' moralizing streak with Brechtian social drama and American mob film.

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