Uma luminosa Xerazade e um sedutor Paddleman encantam na primeira parte. A segunda história, bem menos encantada e bem mais arrastada, é dedicada a homens que cuidam de pássaros... ou a pássaros que cuidam de homens? Não diria que se fecha a trilogia com chave de ouro, mas acho que Gomes fez o que bem lhe apeteceu nestas Mil e Uma Noites: como um todo não têm a força que eu antecipava, mas têm alguns belos momentos.
2 - During my viewing of this, I was struck by the solipsistic impression that Gomes made "Volume 2" a decent film just so he could raise my expectations, and thus disappoint me twice. Every positive point from the previous film has been squelched, and every weakness from the first volume has been amplified. Gomes has filmed my homeland as a farce; a circus; an overblown carnival, hopefully for the last time.
incredibly self indulgent. Watched the previous two parts and enjoyed them, but spending such a huge section of this film watching people prepare for a finch competition and not even witnessing the result, or the conclusion or any over-arching narrative made this feel like a real waste of time
****1/2, at least; I must ponder the conscious excess of titles and music in this final third. As a triptych, though, the film is a most gratifying complement to Costa's Lisbon films: The impelling social awareness ("commentary" will be in the eyes of the beholder) is near-identical; the execution could scarcely be more divergent -- Gomes's is as sprawling, variegated, and restless as Costa's is languorously precise,
The opening section of The Enchanted One, which focuses on Scheherazade herself, is clearly the most stylistically adventurous and most obviously thrilling section of Arabian Nights. It is absolutely stunning. There is then a brilliant digression. Then the chaffinches. Heh. Clearly the most challenging section. Amusingly, days are lost in telling a tale which visually consists of dudes standing around. But I love it.
A frustrating and intermittently interesting conclusion to Gomes' endeavor, showing both the potential and inherent disconnect in his central idea. There are isolated moments that contain magic and beauty, but the central structure to this pairing of ancient Baghdad and modern Portugal seems dubious.
Such a wonderful way to end the trilogy with this blend of "reality" and "fiction", both being questioned by Gomes' work. Chico Chapas story is now told - we'd seen him as an actor in the 2nd film. It takes a huge part of the film and it is without any mention to its potential meaning that we see men training birds to compete against each other. These men have found ways to transfer to birds their male aggression.*