Film: Central Station
Release date: 1st April 2004
Certificate: 15
Running time: 106 mins
Director: Walter Salles
Starring: Fernanda Montenegro, Vinícius de Oliveira, Marília Pêra, Soia Lira, Othon Bastos
Genre: Drama
Studio: Miramax
Format: DVD
Country: Brazil/France
As with all road movies, Central Station is about finding oneself, but it stands out in the characters who are so well written that it is impossible not to invest emotionally. Walter Salles shows off his skills again at bringing great performances from non-actors amid scenes of Brazil at its brightest and gloomiest.
In Brazil’s central train station sits Dora, day after day, selling her much needed skill of reading and writing. People pour their hearts out to her so that she may write letters to loved ones, hated ones or even lost ones - all written and posted for a price. Only, Dora does not post the letters. Hardened in her old age, she keeps some in a drawer, whilst others are thrown into the bin - after criticising and laughing at them with her neighbour.
When a woman and her son come to her to write a letter, reconnecting with the boy’s father, Dora is all too quick to judge again. But the woman returns to write a second letter, imploring the man to finally meet his son, young Josué, who sees through Dora’s scam. Moments later, his mother is hit by a bus and dies, leaving Josué alone in central station with only the promise of a father he has never met, and a letter writer who feels obliged to give him a bed to sleep.
Dora and Josué’s relationship is one of distrust and disapproval, seeing in each other a mirror of cynicism and equally eager to be done with each other. Dora even tries to sell the boy at first, but after realising he may be killed for his organs by this so-called adoption agency, she steals him back and they flee the city together.
Left with only the address of his mother’s letter, Josué and Dora begin their journey to find his father. But what starts as a journey to be rid of each other as soon as possible becomes a journey of finding in each other the solidarity they need to bring hope and happiness back into their scarred spirits…
There is something romantic about Dora and Josué’s relationship and how together they grow, changing from once hardened cynics to heart-warming friends. The duo offer a vision of the difference between age and wisdom. They may both share a pessimistic, untrusting outlook on the world, but Josué proves often to be somewhat wiser when it comes to reading people. But he is so eager to grow up that we are quickly reminded of how young he is, such as comic moments where he talks naively about women and sex. Similarly it is cringe-worthy watching Dora cling to a fleeting relationship with a truck driver, but equally rewarding to see her proudly trade in her dumpy clothes for a floral dress and lipstick.
These superbly scripted characters are given real spirit by the actors. Fernanda Montenegro owns the character of Dora, so much that you could not imagine her any other way. The emotion that comes from her feels almost too real to be fiction. Similarly, to think that Vinícius de Oliveira hadn’t acted before is remarkable. His performance provokes a sad afterthought of what life experiences he must have suffered to be able to bring such depth of anger and sorrow to a character at such a young age.
Walter Salles has a wonderful way of visually portraying the characters’ internal and surrounding situation. To start with, when Josué is alone in the station, he is isolated by the shallow depth of focus, much like Dora is as she writes letters, unable to see beyond the one person in front of her. This combined with a monochromatic colouring to the scenes shows their closed perception to life and other people, as well as helping with the ever-growing bleak and hopeless tone. As the film progresses, Salles is able to show the gradual character changes through these mediums of focus and colour, revealing a striking, colourful and wide view of the world when at last Dora and Josué have their eyes and hearts opened to it. The result is a beautiful way of emphasising the empathy that the script builds for Josué and Dora.
Visuals are so important to this film in maintaining both emotion and metaphor; from the stunning wide shots of Brazil’s landscapes to a brilliant little shot of the train doors closing between the characters, Josué still visible through a gap as Dora cannot so easily shut him out of her life. It is truly a credit to the director and cinematographer that these images are so memorable for their beauty as well as their meaning. The passion that Walter Salles has for the country and culture strongly comes across in these images. As well as scripted moments, like placing Josué’s mother’s handkerchief on a memorial post, or singing songs in the back of a truck, there is a religious festival that they came across while location scouting and added into the film. Again, a visual treat but also a great insight into the culture and, more importantly, how Josué and Dora fit into it, or rather don’t, as the case may be.
A fantastic script goes so far, but directors like Walter Salles can drive it into greatness on screen. It is inspiring to see a filmmaker willing to let the story evolve through the filmmaking process, but without losing its core ideas, and the result is a beautifully told story. More than just emotional acting and stunning backdrops, Central Station leaves you with a sentiment that lasts; a genuine feeling of love for these characters. In fact Dora and Josué are not just characters; they are people that you will miss as the credits close on such a spectacular film. CM
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