A sad, searing 'Behind the Sun'

by Claudia Puig

Revenge is an unstoppable force that is anything but sweet in Behind the Sun ( out of four), where grudges last for generations and honor is all that matters. With 1998's heart-wrenching Central Station, Brazilian director Walter Salles showed he could draw emotionally honest performances from very young actors. He continues to prove his talent here.
The setting of this moody, reflective tale is a remote outpost in the desolate Brazilian badlands. It is 1910, and a centuries-long land dispute between two feuding families has resulted in the murder of several young men and has recently claimed the oldest of three sons of a sugar cane rancher. The youngest, Pacu (Ravi Ramos Lacerda), is haunted by dreams of his brother's death.
Meanwhile, Tonho (Rodrigo Santoro), the 20-year-old middle son, is ordered by his taciturn father (José Dumont) to avenge his older brother's murder. Tonho carries out his responsibility, but reluctance and remorse cloud his expressive brown eyes. He shows up at his victim's wake, prays and sheds a tear, then asks the family patriarch for a truce.
But once the murdered boy's bloodied shirt dries and turns "yellow," Tonho knows he will face his own death sentence, as dictated by a long-standing village tradition. The patriarch coldly asks Tonho if he has ever known love. When the boy shakes his head, the elder man responds ominously: "And you never will."
Tonho is painfully aware that his days are numbered, as is his adoring little brother, who urges Tonho to run away. Tonho's fate-sealing decision to stay behind is difficult to comprehend in light of his impending execution, and the film powerfully conveys the family's ingrained despair and hopelessness.
In one of the most touching scenes, Tonho reminisces with his brother about teaching him to fly on a rough-hewn swing. Pacu suggests they trade places, and the little boy pushes the big brother he idolizes on the swing. Tonho swings back and forth, abandoning his careworn demeanor, as Pacu reveals a rare smile. They share a sense of adventure when they sneak out of their room at night and meet Clara (Flavia Marco Antonio), a beautiful fire-eater with a traveling circus, who reminds them of life's possibilities.
The movie is both redemptive and tragic, though it occasionally strays into melodramatic terrain. The score is evocative and lovely. Sun provides a window into a radically different time and place. Even with the deliberate pace and somber mood, the movie offers a ray of hope.