Sweat beads her brow as she carts the new television she's bought with money acquired by selling a young boy to an "orphanage." She's a hard woman and it's difficult to like her, yet she goes back for the boy out of guilt. Understandably, he resists her aloof camaraderie and tells her she's ugly and a thief. But he cannot bring himself to leave her. They need each other.
Dora (Fernanda Montenegro) is a retired elementary school teacher who writes letters for illiterates in Rio's central train station to make ends meet. She passes moral judgement on those who employ her services: the weak, desperate, selfish and naive. She never mails their correspondence, instead laughing over them with her friend Irene (Marília Pęra). However, Dora is no different from those she serves; she suffers in bitter loneliness and regret. When she meets young Josue (Vinícius de Oliveira), whose mother has just been killed, Dora sees an opportunity for profit. When her conscience gets the better of her, she finds herself trying to help the boy, and the reluctant pair set out to find Josue's father. Their pilgrimage brings them hardship and disappointment and ultimately friendship and redemption.
Montenegro is superb as the hardened spinster who seems to care only about herself. Dora is cloyed by self-preservation, but a soft-hearted desperation emerges as she discovers a commonality with her reluctant companion. De Oliveira, who was discovered in Brazil by the director, is equally capable as the brash delinquent. His character's inexperience is endearing and exasperating.
The emotional richness of Central Station is reflected in its vivid colours and cinematography. The camera captures the heat and oppression of the busy, harsh city, and it illuminates the simple roughness of the countryside and small villages. The curve of the train rails turns into the curving architecture of the overgrown apartments. The packed rail station, the transport trucks, small roadside stops, religious pilgrimage spots and urban development add to the texture of Brazilian society. The musical score, which follows the pair from station to station, is equally eloquent.
Central Station is about salvation from regret and starting over. Director Walter Salles has created more than a road picture; he tells a poignant story about two characters and their destinies -- destinies that remain uncertain.
