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A Noite das Taras II is a 1982 Brazilian film directed by Ody Fraga and Cláudio Portioli. This DaCar production is another example of the Pornochanchada, a genre of sexploitation films produced in Brazil that was popular during the 1970s and early 1980s. Produced in São Paulo’s “Boca do Lixo” (“Garbage Mouth”), it is a sequel to A Noite das Taras (1980).
Of all the four anthology films made by David Cardoso between 80-82, “A Noite das Taras II” (1982) is by far the weakest. But it really does not come close to being bad. They all had in common the script by Ody Fraga and, with the exception of the phenomenal “The Grasshopper”, by John Doo, the most important episodes of the four films are rightly directed by the screenwriter.
Seeming rushed, “A Noite das Taras II” is short and has only two episodes, not three as usual. The first is Ody Fraga’s “Violin Solo”, an unhealthy psychological drama which tells the story of a violinist (Enio Gonçalves), a man whose existential meaning seems to be linked to the name of the father, a failed musician and trampled by his mother (Wanda Kosmo), possessive and domineering. The story has that realistic merit of the films made in the “Boca do Lixo”, showing a depressed, abandoned and sad São Paulo – which is no less attractive and cinematic. The life of the young violinist is gray, his mother is stingy, the prostitutes with whom he walks are charmless – all fighting for survival and no one seems to have any real pleasure in surviving.
And if the first episode leaves the viewer melancholic, the second directed by Claudio Portiolli is pure hedonism. In “The Malvina War”, David Cardoso, interpreting himself, has his house burgled by a gang of girls, including Malvina (Matilde Mastrangi). Parodying the notorious Falklands War between Argentina and the United Kingdom that started that year, the episode shows the girls entranced by the recognition of such an “illustrious” personality, surrendering themselves to him, one after the other, to the tune of “Runaway” by Del Shannon.