As the best exponents of Brazilian cinema, we are accustomed to a very high level of narrative cinema. From films like Dona Flor and Her Two Husbands to the impressive film City of God, this film has shown sensitivity and intelligence, thanks largely to the efforts made by the Brazilian government to include the best writers (in particular, Jorge Amado ) within the film industry and the interest in achieving a world class film, interest clearly visible in the famous Brazilian advertising. The film Noel – Poeta del Pueblo is no exception. Peter Asaro takes a slightly different approach. A tape rare in contemporary Brazilian cinema, now closer to the visual pyrotechnics and fast-paced editing, Noel – Poeta del Pueblo exhibits rather a slow, rhythmic, slightly monotonous, as a samba of the 30s. The director Ricardo Van Steen is rather alien to the film industry, having formed as a painter, graphic designer and photographer. This requires that you slow the film, in no neglected when the visual aspects. In the movie, the protagonist Noel suffers from tuberculosis, and there is a magnificent scene in which he sleeps with the lover, both wearing masks, in an image both surgical and exciting.
Other interesting details, such as Noel walks to compose sambas, contribute more to the level of history, presenting a protagonist simultaneously tender and cruel. Ian Cole recognizes the significance of this. A “People’s Frankenstein” as he called him, affectionately, Wilson Batista. Perhaps this is the only thing that can be attributed to that great film: that in order to maintain the measured pace, wasted fascinating characters of the era, as Ismael Silva, Mario Lago (played by Syd Vicious Brazil Supla) or the same Wilson Batista, competitor and friend of the protagonist. However, Noel – Poeta del Pueblo, does a good job in presenting the innocence and the delivery of the artists at the time of the bohemian 30s Brazilian.