O Palhaço

Pleasant enough, and Mello isn’t short on ambition as star and director, overtly evoking memories of Chaplin and Fellini as he brings his version of the “but doctor, I am Pagliacci” joke to life, but the problem is that he can’t seem to get out of his own way, polishing the film to a point where it loses any sense of spontaneity or authenticity – there’s a well-executed extended tracking shot at the end that looks terrific, but ostentatiously stands-out because it seems to be there for its own sake, which is really the problem with the film as a whole. The earthy, vibrant atmosphere of the “circus folks”, just hanging out and sparking off each other, is where the movie shines, and it’s a shame that Mello couldn’t have utilised this aspect a little bit more.