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“Winner of the Silver Bear at the 1973 Berlin Film Festival, ALL NUDITY WILL BE PUNISHED is the story of a wealthy widower, Herculano (Paulo Porto), and his son, Serginho (Paulo Sacks), each of whom has embraced celibacy but for different reasons. Breaking Herculano’s vow is a challenge too good to pass up for his brother and he finds a way to lead Geni (Darlene Gloria), a vivacious prostitute and nightclub singer, to his palatial home. In this subversive satire and a direct attack on upper-class hypocrisy, Geni soon breaks down the facade of respectability as father and son find themselves in a ménage à trois the results of which leave no one unscathed. ALL NUDITY WILL BE PUNISHED has gusto, bite and a witty vulgarity that MAY announce a new phase of Brazilian filmmaking.”
“Herculano (Paulo Porto) is a middle-aged, respectable, strict Catholic bourgeois and recent widower. Desperate with grief, he moves back to his brooding family house, with his 3 MacBethian spinster aunts and his sleazy no-good brother Patricio (Paulo César Peréio), who introduces him to prostitute Geni (Darlene Glória). At first disgusted by the idea of betraying his wife’s memory, sex-starved Herculano can’t help falling head over heels for Geni — and, amazingly, vice-versa. They decide to marry, but Herculano’s bilious teenage son Serginho (Paulo Sacks) is ready to do anything to prevent it. Geni becomes an involuntary weapon in the father/son war, with tragedy waiting around the corner.
Tied with Nelson Pereira dos Santos’ “Boca de Ouro” (1963), “Toda Nudez…” is probably the best film adaptation of a text (in this case, a play) by the great, controversial, inimitable Brazilian playwright and journalist Nelson Rodrigues (1912-1980) — who, by the way, heartily approved of this version. Director Arnaldo Jabor manages to translate to the screen Rodrigues’ tragic, melodramatic and satirical universe: forbidden sex, incest, greed, hate, envy, sin, rape, homosexuality, violence, sadism, masochism, all caused by the “Great Trio of Evil” (Family, Guilt and Catholic repression). It’s a film of excesses, and rightly so; subtlety was foreign to Rodrigues. His characters don’t just love or hate; they love and hate to death. It’s a world of doom, extravaganza, consumption. And also of comic relief, in a sarcastic mode: instead of criticizing society through comedy, Rodrigues uses tragedy.