A conventional crowdpleaser, The Violin Teacher has enough grit and local ‘colour’ to become an international festival favourite and an arthouse hit (in those territories that, unlike the UK, still show foreign language films). Though conventional the film is in fact inspired by a real project which has seen school students in Heliopolis, the biggest favela in São Paulo, getting the opportunity to learn how to play classical music. The film’s conventionality comes from the decision to meld this with a story about a child prodigy who hasn’t quite made it, but who rediscovers his mojo when declining income forces him to become the reluctant music teacher in said school project.
The teacher is Laerte, a rather earnest and sad-faced African-Brazilian played by Lázaro Ramos whose performance grew on me as the film proceeded. He has just blown an audition for the São Paulo Symphony Orchestra (the most prestigious in South America) and the string quartet that he plays in is breaking up. He daren’t return to his parents and the rent is due on his penthouse flat. Of course, he’s not a very good teacher at first and he will have to go through a learning process to meet his students halfway bef0re he can teach them anything useful. The film’s narrative structure requires Laerte to latch on to the most gifted player, a boy who is plagued by a brutal father and held back by his loyalty to friends who run in a gang, stealing and recycling bank cards (and in turn finding themselves in hock to the criminal bosses in the favela). Inevitably that loyalty will threaten the success of the school project and will act as a challenge to Laerte. Does he feel completely committed to his students – or will he return to his own ambitions once his confidence has returned? Finally, convention requires that the school musicians must give a performance in the favela – which will be a triumph against the odds.
I make these points about conventional scripting not to diminish the film but to place it institutionally. This is a film deliberately produced to attempt to appeal to a local audience and to interest festival programmers and ultimately overseas distributors. It is from the same production company which successfully guided The Second Mother down a similar path in 2015. If the narrative structure supports the universal appeal of the teacher/student/musical performance progression, it relies on significant local research to give the scenario credibility. The film also has a bigger budget than most Brazilian films so that the city can be presented in all its diversity – with aerial photography (and ‘Scope) and a real sense that Laerte ‘crosses the bridge’ from the wealthy city centre to Heliopolis. Similarly, the budget provides for car chases and confrontations between police and favela residents. The research and budget also helped the soundtrack which includes both the classical orchestra players and several of Brazil’s leading popular music players. Co-producer on the film was Fox International, underlining the potential for overseas markets. This Variety report reveals that Fox have acquired the rights for Brazil and Portugal and the rest of Latin America.
The Violin Teacher is an enjoyable film that could do well with the right kind of distributor support. Its major weakness seems to be a failure to develop significant female roles. This doesn’t have to be a love interest for Laerte – though he does have a female friend whose role could be expanded. Rather it could mean one of the girls in the school project being allowed a lead role. Director Sérgio Machado did have Maria Adelaide Amaral, an experienced writer of telenovelas as a writing partner. Perhaps Brazilian writers could learn something from Girlhood (France 2014)? It doesn’t always have to be the boys in the favelas. This turned out to be the first of three films at GFF in which the central character takes on a job dealing with potentially ‘difficult’ young people.