Name: Máscara da Traição
Genre: Crime
Released: 1969-09-08
Duration: 1 h 35 min
Rating: 7
Cast: Tarcísio Meira, Glória Menezes, Claudio Marzo

Predictable, Unrealistic, Flawed but also Enjoyable Tale of Betrayal

In Rio de Janeiro, Carlos Almeida (Tarcísio Meira) is the arrogant chief of the Financial Department of Maracanã Stadium, married with Cristina (Glória Menezes), who works in the Modern Art Museum. Carlos is loathed by his accountant and aspirant painter César Ferreira (Cláudio Marzo), who is frequently humiliated by Carlos. When Cristina meets César in an art gallery, he is seduced by the wife of his boss and they have a love affair. Sooner Cristina convinces Cesar to rob the income of a game in the stadium pretending to be Carlos. She gives a mold of Carlos' face to César and he prepares a mask; then he trains how to imitate the voice of Carlos. On the day of the game Flamengo x Botafogo, Cristina puts an opiate in Carlos' breakfast and César takes his place, luring his assistant Correia (Flávio Migliaccio) and the armored car driver Severino (Milton Gonçalves). Then César brings the money and deliver it to Cristina and Carlos is arrested by inspector Borges. The responsible for the insurance Marcelo tries to help his friend Carlos, but it seems that the heist followed a perfect plan and the evidences make Carlos the prime-suspect.

"Máscara da Traição" is a predictable, unrealistic and flawed but also enjoyable tale of betrayal. The story flirts with the film-noir genre but the screenplay is confused, giving the sensation that the edition is made in a wrong sequence. The film uses footages of two popular soccer games in Brazil, Vasco x Fluminense and FLAMENGO x Botafogo, and for fans of this sport is a great chance to see the players of these teams.Further, there are many scenes with landscapes of my Wonderful City in the late 60's. My vote is seven.

Title (Brazil): "Máscara da Traição" ("Mask of the Betrayal")

Portuguese-language cinema, spanning Portugal, Brazil, and other Lusophone regions, focuses on history, cultural identity, and the struggles of ordinary people, often framed with poetic or allegorical storytelling. In Portugal, cinema has emphasized meditative pacing and philosophical depth, reflecting on memory and tradition. In Brazil, it has often been politically charged and socially vibrant, highlighting inequality and resilience while experimenting with popular and avant-garde forms.

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The crime genre features criminal activities, investigations, law enforcement, crimes, and the pursuit of justice. Crime stories often revolve around the planning, execution, and consequences of criminal acts, as well as the efforts to solve and prevent such acts. They explore various aspects of criminal behavior, motives, and the moral dilemmas faced by both perpetrators and those seeking to uphold the law.

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Couple of lovers want to steal the income of a popular soccer game, at Maracanã Stadium, in Rio de Janeiro.

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Claudio Marzo in Máscara da Traição (1969)

Tarcísio Meira and Glória Menezes in Máscara da Traição (1969)

Milton Gonçalves, Tarcísio Meira, and Flávio Migliaccio in Máscara da Traição (1969)

Oswaldo Loureiro in Máscara da Traição (1969)

Claudio Marzo and Glória Menezes in Máscara da Traição (1969)

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Oswaldo Loureiro, Claudio Marzo, and Joel Vaz in Máscara da Traição (1969)

Máscara da Traição

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