Cidade-Mulher is a messy, charming 1930s musical about dogs and debt

I finally sat down with Cidade-Mulher last night. It is definitely worth watching if you are into film history or just want to see what Rio de Janeiro felt like before it became a postcard.

Music nerds will love it for the cameos. People who need a fast plot or high-definition explosions will absolutely hate it.

The whole thing feels like a play that accidentally wandered onto a film set. The sets actually wobble a little bit when people walk too fast.

Jaime Costa plays the producer, and he has this great, tired face. You can tell his character hasn't slept in three years because of his debts.

His daughter, played by a very young Bibi Ferreira, is trying to help him out. It is funny to see her here before she became a massive theater legend in Brazil.

The plot is pretty silly. They need money, and there is this Baroness who is obsessed with dogs.

Like, she loves dogs more than people. It reminds me of the simple charms in Rebecca of Sunnybrook Farm but with more samba.

They decide to use this dog fascination to trick her into bankrolling their musical revue. It leads to some very awkward scenes with animals that clearly didn't want to be on camera.

There is one shot where a dog looks directly at the lens like he's asking for a union break. It made me laugh out loud.

The movie is a bit like Sorrell and Son in that it's about family sticking together, but way less depressing. It stays light, even when they are basically lying to a rich lady's face.

The Music is the Real Star

Even if the story is thin, the music is incredible. This was the era of "Radio Days" in Brazil.

Orlando Silva shows up to sing. His voice is like warm honey, even with the hiss of the old recording.

I found myself rewinding his part just to hear that tone again. It’s better than most modern singers who have a million dollar studio.

The musical numbers are staged in a way that feels very flat. It is like they just pointed the camera at a stage and said, "Okay, do the dance!"

But there is a raw energy to it. You can tell everyone was just happy to be making a movie in 1936.

The choreography is a little messy. One girl in the back row is consistently a half-second behind everyone else.

I kept watching her instead of the main dancers. It made the whole thing feel more human.

• The lighting is very harsh in the office scenes.
• The Baroness has some amazing hats.
• The sound quality dips whenever someone moves too far from the hidden microphones.
• There are a lot of dogs. Maybe too many dogs.

Henrique Pongetti wrote the script, and you can tell he comes from a theater background. The dialogue is very wordy.

Sometimes the characters talk for five minutes about nothing. It feels like they were trying to fill time because they didn't have enough money for more sets.

I noticed a weird shadow on the wall during the big finale. I think it was a boom mic, but I’m not sure.

It’s these little mistakes that make me love old movies like this. It’s not polished like a Disney product.

It feels like a group of friends putting on a show. A very expensive show with a lot of borrowed dogs.

If you have seen Alt Heidelberg, you might recognize that stagey, old-world vibe. It’s a very specific taste.

The movie doesn't really have a message. It just wants you to tap your feet and forget that the world was falling apart in 1936.

I think we need more movies that are just about trying to pay the rent by being creative. Even if it involves tricking a Baroness.

The ending happens very fast. One minute they are in trouble, the next minute everyone is singing and the credits roll.

I wish they had spent more time on the daughter's romance, but it just sort of sits there. It’s fine, though.

The movie is short enough that it doesn't overstay its welcome. It’s like a quick snack. 🍿

I’m glad I watched it. It’s a nice reminder that movies used to be allowed to be a little bit clumsy.

Go watch it for Orlando Silva. Stay for the confused dogs.