By: debbie lynn elias
Heleno de Freitas is a name synonymous with the history of soccer. One of the world’s greatest players in the 1940’s, he is legendary in his home country of Brazil. Rocketing to the forefront as a leader in the sport, Heleno achieved fame of almost mythical proportion thanks not only to his skills on the field, but his lifestyle off. Living the glamorous life with a wife at home, a mistress, a woman on each arm every night as he made his way through the glitz and glamour of the clubs of Rio, hobnobbing with the rich and famous, to the world Heleno seemed to have it all. But there was a dark side to him, a side that ultimately cost him his career and his life. Behind the cheers and applause of adoring fans, there was a man filled with anger, rage and ego, who was a chain-smoking, ether addict with advanced syphilis, a relatively untreatable disease at the time that would drive him to madness and into a sanitorium until his dying day.
Enter director Jose Henrique Fonseca and actor Rodrigo Santoro. Fascinated by the legend of HELENO, Santoro dove head first into the project, not only immersing himself into the character, but also coming on board as a hands-on producer. Involved in every facet of the production, Santoro, together with Fonseca create a beautiful and compelling portrait of a man plagued as much by his own magic as by madness.
Not a straight biopic, HELENO, is more a poetic interpretation of the man. However, it is this poeticism that allows Rodrigo Santoro to soar with his performance of the tortured Heleno and despite Heleno’s personal demons, makes for a riveting compassionate portrait that leaves the audience wanting to try to understand the man. In today’s world, Heleno would have made for glorious tabloid fodder. Is there another actor out there today that could bring the athleticism, poetry, passion, pathos and arrogance to HELENO that Santoro brings? I highly doubt it. This is one of his best works, especially with HELENO’s descent into madness as Santoro relies on emaciated tacit stillness to draw one still deeper into HELENO’s darkness.
Alinne Moraes and Angie Cepeda add a glamorous and seductive silken touch to the mix as Heleno’s wife Silvia and mistress Diamantina, respectively. It is through their eyes and the respective ehcmistry with Santoro’s Heleno that we are privy to the ego and madness that fueled Heleno even before the syphilis, while each woman has her own level of pathos and desperation.
Written by Fonseca together with Fernando Castets, Felipe Braganca and assists by L.G. Bayao and Roberto Ceuninck, the story is all encompassing. Based on extensive research and interviews with those still living who actually knew HELENO or who had some sexual liaisons and dalliances with him, characters are thoroughly fleshed out while still creating an aura of mystery. But is HELENO himself that is the richest and deepest, thanks not only to impeccable research, but Santoro’s piercing performance.
Shooting in black and white, cinematographer Walter Carvalho creates a stunning palette, transporting us into the glossy and gritty world of 1940’s Rio while Fonseca takes us on a trip down memory lane with a cat-and-mouse, back-and-forth style of storytelling as HELENO edges ever closer to death in the haze of syphilis-induced madness. Thanks to the black and white lensing not only do we have the glossy lushness of the day, but a”newsreel” feel which works surprisingly well for this particular story as it also places one in the magic of nostalgia of the day.
HELENO – an richly intimate portrait of the man, the myth and the madness of both.
Directed by Jose Henrique Fonseca
Written by Fonseca, Fernando Castets, Felipe Braganca and collaborating writers L.G. Bayao and
Roberto Ceuninck
Cast: Rodrigo Santoro as Heleno
