After watching many documentaries about prisons and inmates, I think this movie gets top marks for poor acting and useless subplots. Rodrigo Santoro as Lady Di, and Milton Gonçalves as Chico demonstrated good acts, but everyone else performed poorly. Carandiru highlights a 1992 riot and its consequences which only occurs in the climax. Thats alright, but we are not offered any comparisons or standards to let us know if excessive force was used, and if prisoners (always in party mood) were justified in rioting.Throughout we are subjected to irrelevant subplots -- none relevant to the climax. How does individual resentment build up against authorities? Yes the living conditions are horrible but most inmates seem well adjusted to prison life. When one knife goes missing, Ebony (who doesn't project good leadership or charisma) threatens that one man will die everyday, yet in the climax we see hundreds of shanks falling out of windows.In any prison, the relationship between guards and inmates can give a hint of what is going wrong, and if early prevention was required. Prisoners' reaction to control tactics employed by staff is valuable. Finally portrayal of dynamics among inmates are important. For example, inmates cooperating with staff is generally looked down at but here Ebony is a leader. By my standards, "The Shawshank Redemption" is the best example of a prison movie.My main gripe is that the movie doesn't build up to the final tension leading to the riot. Needed more research on prisons and less of fantastic camera-work.

Prisons are a sign of the failure of our society. Society fails in that it is unable to prevent the original crime; and then again, in locking up those criminals in a world of squalor, drug abuse, and violence, ruled, in effect, by the criminal hierarchy whose delicate co-operation with the authorities is necessary to maintain any semblance of order. 'Carandiru', based on the memoirs of a prison doctor in Brazil, is a fairly conventional prison movie, telling us the criminals' stories (as told to their medic) of life both outside and inside the bars; but it's still an absorbing tale, with moments of humanity flashing through the holes in a very grim backdrop: the ending feels like overkill until you learn the sobering statistics of the real event on which it was based. Of course, the poverty of Brazil undoubtedly contributed to the terrible nature of the (now demolished) Carandiru; but this week the British government triumphantly announced its plan to build four new mega-prisons, another story it's hard to see ending well.

Individual stories of inmates in the huge, overcrowded and infamous Carandiru penitentiary in Sao Paulo, Brazil; the fil rouge being a doctor (a narrow character who ain't but a narrative excuse) who decides to take care of the prisoners during the outbreak of AIDS epidemic. At the end, a futile fight starts a riot which will eventually end with the death of 111 inmates.Carandiru is'nt a masterpiece. But it's a good, solid, non moralistic or stereotyped and yet entertaining prison movie which manage to transport the non-Brazilian viewer to feel the noises, the colors, even the scents of a lively, desperate and merciless world in which good and evil, guilt and innocence are inextricable.Way better than Ciudad de Deus ("City of God") by Meirelles, which was a lot more successful abroad; IMHO, it was just a stylish gangster-movie with a Brazilian location.

On October 2, 1992, a riot broke out at the Sao Paolo House of Detention in Carandiru, Brazil. By the end of that day, 111 prisoners lay dead, the victims of the riot police who stormed the facility and brutally massacred them - even after they'd surrendered their weapons. Perhaps the most striking aspect about Carandiru is that it doesn't hit us over the head with its subject matter - at least not initially, that is. For roughly the first two-thirds of its nearly two-and-a-half-hour running time, the film focuses on the lives and struggles of the prisoners, as seen through the eyes of the compassionate doctor whose book on the subject served as the basis for the film. Without passing moral judgment, Dr. Drauzio Varella, who has been sent there mainly to help stem the spread of AIDS in the facility, listens sympathetically to the stories the men tell regarding the crimes they committed (mainly murder) which led to their incarceration (these we see acted out in numerous flashback sequences). Although the prison is tremendously overcrowded and drug use and disease run rampant through the corridors, the conditions don't appear to be quite as harsh or hellish as we might have expected them to be before seeing the movie. For one thing, the men seem to be treated rather decently by the guards - who seem to exist in surprisingly small numbers, actually - and the prisoners appear to have more freedom to walk around and interact with one another than we are used to seeing in American prisons (or, at least, in movies about American prisons). In fact, so much time is spent exploring the relationship problems between the men in their prisons and their loved ones on the outside that Carandiru often feels more like a "novela" set behind bars than a gritty depiction of life in a human hellhole.But all that changes in the last half hour of the film after the riot has begun and we see the prisoners gunned down in cold blood, many of them while cowering in their cells. It is a brutal and terrifying display of raw, inhuman savagery, one that far surpasses anything we have seen perpetrated by the prisoners themselves. However, writer/director Hector Babenco (along with co-authors Fernando Bonassi and Victor Navas) does not attempt to sanctify or glorify the convicts either, for much of what they do to their fellow human beings is not too many moral steps removed from what the riot squad members eventually do to them. Although the filmmakers' sympathies clearly lie with the prisoners, who are at least presented to us as flawed, three-dimensional human beings, he is not afraid to show the evil side of these men when he needs to as well. The acts of violence that the prisoners perpetrate on their victims and each other are conveyed by the filmmaker with a dispassionate efficiency and awe-inspiring swiftness that are indeed chilling. As a drama, Carandiru could have benefited from a bit of tightening in its earlier stretches, for the film feels a trifle unfocused and meandering at times. Still, by concentrating so intently on the everyday minutiae of these men's lives in prison, Babenco certainly helps the characters to become more real for the viewer, thereby intensifying the sense of loss when the tragedy occurs. Blessed with a large and gifted cast, Carandiru offers a long, sometimes touching, sometimes painful look into a world and an event that would otherwise have remained hidden from the eyes of the world.