Incannerax What a waste of my time!!!

Inclubabu Plot so thin, it passes unnoticed.

Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

Allissa .Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

pablo-esquer This movie captivated me. Although i must say it didn't do so from the very start. It took me a scene (and/or a song) to begin to submerge deeply into the feeling of the music that floods this tale of Saura. And it's been wonderful. Each song made me want to live it again a thousand times, i felt it resound inside my head and each singer moved me to the point where they gave me to carry all of their sorrow and burden. Absolutely a must see for all of those who've been caught inside the music and don't know how - or don't want to - be set free. For all of you is this journey in which Carlos Saura invites us to go.A journey that conjugates perfectly music, contemporary dance, scene art, costume design, lighting and of course cinemaUnfortunately there is occasions within the film in which this escapes perhaps too much from what we can refer to as the "real Fado". For example the scene where the raper NBC pays his tribute. I feel that's a fairly big - and unjustified - jump from the feeling that was building up throughout the film... this "saudade", that Portuguese people have so jealously kept for themselves, but that they tell us about it in Fado. Another black spot (in my judgment of course) it's the dancers in that same scene, who i presume - and hope - do an improvisation that's poorly accomplished, and seems more like a mockery than an interpretation of the music that NBC is singing. However, this little "impasse" is saved completely thanks to the great interpretation in the next scene from Carlos do Carmo.Another great aspect of this film is that each scene it's different and appealing. Saura accomplish this experimenting with, as i was saying, the dance, light, scenery, costume, music or all of them at once.A movie to feel.

druid333-2 The magnificent Spanish film maker, Carlos Saura has gone and done it again. He has crafted an absolutely mesmerizing performance film dealing with the popular musical form from Portugal called Fado (a form of folk music,with roots dating back to the early 19th century). Fado is generally sung by either women or men,with spare musical backing (generally a mandolin like Portugese guitar,and an acoustic guitar or two). Not only are we treated to performances by today's superstars of Fado,but are equally thrilled by dancers performing in front of mirrors,or projected images of Portugal,now and then. There are also vintage film clips of legendary Fado performers such as Amalia Rodriguez,etc. At times the use of overlapping images reminded me of some of the experimental musings of German film maker,Hans Jurgen Syberberg (especially his film adaptation of Richard Wagner's 'Parsifal',or his performance film 'Der Nacht'). Although gone is the saturated colour photography that made 'Flamenco' a treat for the eye & senses,this film is also a sight to behold. If you have any kind of passion for world music,or just outright love Fado,you can't go wrong with checking out 'Fados'. Not rated by the MPAA,this film serves up a few rude words in some of the song lyrics (translated by English subtitles),but generally contains nothing to offend

Sancho C I sat in a theatre listening to the music coming out of the big speakers: the latest from Brazil. The film I was coming to see was "FADOS" by Spanish auteur Carlos Saura. I thought fado was from Portugal - I was confused. Not because a Spanish filmmaker had taken the challenge to film a few performers (mostly non-Portuguese) to showcase in a video-clip style some fado music... I was disappointed because it barely related to anything to do with Portugal. I give one star for Carlos do Carmo influence in the film. A second star goes to the fight superstar Mariza has with the Spanish singer in MEYU FADO MEU - probably the only emotional moment in the film due to the struggle shown by Mariza in wanting to keep her own fado. maybe even an irony relating to the whole film. A third star goes to the filmmaker for having the balls to do the film. Finally, I give FADOS 4 stars because of Mariza herself. She is truly the only one that will probably win from this. Her beauty and star power comes through the screen like a magnetic force. Her powerful voice and stature are beyond anything that Saura could accomplish. If she was not a part of the film then it would have no redeeming qualities at all. Yes, i was disappointed. Why can't the Portuguese and Portugal be shown to the world for itself?

Egberto Moreira As often as not art is comprehended not within the axiomatic framework of elements proposed by the artist, but within the context created by the audiences, based on their cultural boundaries and "pre-concepts". In the case of "Fados", it is clearly the aim of Saura, to the regrettable anguish of a few people, to portray a music genre which for many decades had been confined within the realms of its country of origin, Portugal. But then came the Goddess Amalia, who dared to "break the rules", taking all her wonderful energy to the four corners of our planet, and suddenly, as by a magic spell or charm, Potugal awoke, to realize that the whole world had already become aware, and ready to assimilate, what had been devalued and belittled. This music crossed the borders and influenced nations all over the world, causing astonishment in those nationals who never believed that could ever be possible, and who used to see it under the guise of a folk art manifestation, many times outside the limits of political correctness. - Saramago is more read in Spain alone, or Japan or Brazil, than in his own country (where 67% of the population never read any single book!) And most of his work only get published in Portugal after having become well accepted in other countries; his Nobel Prize is surely not due to his compatriot's acclaim or popularity - All in all to say that Fado finally may have become another matter of Portuguese delayed praise, both socially and politically (it could as well be challenged that it is still, in Portugal, a regionalized capital's possession, for some purists do not even recognize its performance outside the auspices of Lisbon's district "Bairro Alto".) But that acceptance does not justify whoops of nationalistic appropriation, for it is now, by merit and history, living in a much wider sphere, transmuted and amalgamated to suit the idiosyncrasies of all cultures that embraced it. Carlos Saura film beautifully shows how this can be so true.