REACHING FOR THE MOON/FLORAS RARAS

Brazil, 2013, 118 minutes, Colour.
Miranda Otto, Gloria Pires, Tracy Middendorf.
Directed by Bruno Barretto.


Reaching for the Moon is a generic kind of title, which could be applied to any story. There is a meaning for its use for this film, explained at the end of where a central park in Rio under construction is to have lighting fixtures which are like bringing the moon and its light to the park.

It is 1961 and the first half of the 1960s.

This is a story of two strong women, the American poet, Elizabeth Bishop, and the Brazilian architect, Lota de Macedo Soares. Both were middle-aged, their lives intersecting, an unlikely duo, an unlikely friendship, which developed into a relationship of love.

While the central focus of the film is Elizabeth Bishop, a fine performance from Miranda Otto, there is a fiercely dynamic performance by Gloria Pires as Lota. Elizabeth Bishop was rather shy and somewhat retiring, while Lota was full of energy which ultimately led to her emotional and mental collapse.

We are introduced to Elizabeth Bishop sitting in Central Park, New York, with the poet Robert Lowell. He comments on her poetry, her particular style which could be interpreted as prose with pauses. His particular comment is quite telling. He suggests to Elizabeth that she has “observations broken into lines”. Somewhat diffident, she decides to go on a holiday and sails for Brazil. Connections have been made and Lota, along with her American partner, Mary (Tracy Middendorf) are there to meet her, Mary being a school friend of Elizabeth’s.

Audiences made to share Elizabeth’s edginess and appreciate her desire to return to the United States. However, the audiences also is made to feel the strong force of Lota’s personality, her interest in Elizabeth, the personal attraction, the sexual attraction which leads them both into a partnership.

The other attraction for Elizabeth is the beauty of Brazil and its mountains, forests and gardens, and the attraction of the city of Rio. This beautiful scenery is also a great attraction for the audience.

Elizabeth also realises that Lota has a political background, especially with her radical father with whom she does not communicate. a politician, The genial politician, Carlos, is a close friend, as well as an admirer of Elizabeth’s poetry. When he decides to nominate for Governor of Rio, Lota decides to actively participate in the campaign and, to collaborate, when there is a coup and a change of government. This is very difficult for the American, Elizabeth, to appreciate, especially the role of dictatorship as a form of government which Lota supports.

On the one hand, Elizabeth is left to herself, living in the beautiful house that Lota has designed and her own personal study. It is here that she has a creative period with the consequent book being awarded the Pulitzer Prize. On the other hand, she is lonely, still conscious of usurping Mary’s place in Lota’s affections and a somewhat unwilling party to Lota’s plan to placate Mary who wanted children, to adopt a local girl with Lota seen as grandmother and Elizabeth seen as an aunt.

The other factor is alcohol, Elizabeth very cautious about drinking on her arrival, but her drinking more and more, reinforces her loneliness and her emotional dependence on Lota.

The end of the film explains that Elizabeth Bishop is considered one of America’s greatest poets while Lota bequeathed a heritage, especially in her creative park in Rio. But, just before the end, the audience is involved in the emotional turmoil of the two women and its tragedy.

Bruno Barretto is one of real Brazil’s best-nine directors for such films as: Dona Flor and Her Two Husbands, A Show of Force, Carried Away. This is a very empathetic film, for the two women and, always, for Brazil.

1. Based on a true story? Characters, situations? Literature? Politics?

2. The title, its use, especially for Lota and her park and the lights? Elizabeth and her dreams?

3. New York City, Central Park, Apartments, lecture halls? The contrast with Brazil, Rio, the beauty of the countryside, mountains, gardens, homes? The world of politics? The building of the park? The musical score?

4. Elizabeth and Miranda Otto’s interpretation? American? Gloria Pires and Lota, fiery Brazilian? Her strong presence? The relationship, initially antagonistic, the attraction, personal, sexual? The presentation of a lesbian relationship?

5. Elizabeth, her status, family, her friendship with Robert Lowell, the poetry and publication, her personal shyness? The meetings with Robert Lowell, his comment about “observations broken into lines”? The decision to go away, on the ship, crossing the equator? Arrival? Mary and Lota to meet her? The drive, her wariness, going to the house, her room? Being persuaded to stay? Feeling awkward, the meal, not drinking, not able to toast with water? Carlos quoting her poems? The political atmosphere, her wanting to return to the US?

6. Being persuaded to stay, the years passing, the effect on her, in herself, her general pessimistic attitude, the poetry? Mary and her friendship, the past? Lota and her fierceness? the attraction, the reason for staying, her embarrassment, her concern about Mary’s opinion? The plan to adopt the child? Setting up a household? Lota as an architect, the design of the house, Elizabeth’s study, spaciousness, the desk, her writing there?

7. Mary, the plan for the child, Mary’s resentment towards Elizabeth? Lota in charge, the impoverished family, the reasons for the adoption, the children staying at home? Clara taken into the house, her growing up, Lota as grandmother, Elizabeth as aunt? Mary and her feelings? The years passing?

8. Lota and Carlos, Lota’s father and his political stances, the newspaper, but her not communicating with him? The later reconciliation? Democracy in Brazil? The tradition of dictators? Different expectations of government? Elizabeth and her reaction, particularly American, her speech to the table and their reaction? Lota and her wanting to help, Carlos wanting to be Governor, the campaign, the election, his success? Federal government? Elizabeth and her reluctance? Lota, the park and her dream? The media reaction? The children playing? The vision of the moon, the lights in the park like the moon? The park and its success?

9. Elizabeth, beginning to drink, becoming alcoholic? The attitude of the maid in the house? Elizabeth’s birthday, the cake, Lota absent, Clara coming and wishing her happy birthday? Lota arriving, wanting to make up? Mary’s accusations? Clara talking about the drinking? Elizabeth admitting it, her loneliness? Yet the creative burst with the problems, the scenes of composition, correction, the visuals?

10. Elizabeth winning the Pulitzer Prize, the prestige, the ceremony in Brazil, the dignitaries, the American Ambassador? Elizabeth’s speech, reaction? Later American socials?

11. Elizabeth wanting to leave, making the decision, lecturing in New York? Seeing Robert Lowell again, their discussions? The lectures, her diffidence, Margaret and her approach, beginning the affair?

12. Lota, her breakdown, intensity, in the institution, writing the letters to Elizabeth, Mary not posting them? Mary and her vindictiveness? Lota going to New York, meeting Elizabeth, going to the apartment, the book, the bed, finding the inscription, realising that the affair was going on, her decision to kill herself?

13. The portrait of two strong women, audiences being invited to understand and appreciate? The literary heritage of Elizabeth Bishop? The political and architectural heritage of Lota?