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I've been travelling the world for the past 25 years. | 0:00:02 | 0:00:07 | |
I've met so many people in so many countries | 0:00:08 | 0:00:10 | |
that everyone thinks of me as the man who's been everywhere. | 0:00:10 | 0:00:14 | |
But in all these years, there's been one big gap in my passport. | 0:00:15 | 0:00:19 | |
Nothing less than the fifth-largest country on Earth. | 0:00:20 | 0:00:24 | |
A country blessed with a melting pot of people | 0:00:26 | 0:00:29 | |
and an abundance of resources. | 0:00:29 | 0:00:31 | |
A country that's risen almost out of nowhere to become | 0:00:33 | 0:00:35 | |
a 21st-century superpower. | 0:00:35 | 0:00:37 | |
It's the host of the next World Cup and the next Olympic Games. | 0:00:39 | 0:00:44 | |
It's a country whose time has come. | 0:00:44 | 0:00:47 | |
How can I say I've seen the world when I haven't seen Brazil? | 0:00:48 | 0:00:51 | |
OK, waterfall, we defy you! | 0:00:53 | 0:00:55 | |
We defy you! | 0:00:57 | 0:00:58 | |
Modern Brazil was forged in the northeast, | 0:01:16 | 0:01:18 | |
where the huge sugar plantations | 0:01:18 | 0:01:20 | |
created the country's first real wealth. | 0:01:20 | 0:01:23 | |
But by the 18th century, the importance of sugar had declined, | 0:01:23 | 0:01:26 | |
and the balance of power moved south towards the mineral and coffee-rich | 0:01:26 | 0:01:31 | |
state of Minas Gerais and the new capital of Rio de Janeiro. | 0:01:31 | 0:01:34 | |
I'm going to be following this trail from the still immensely rich | 0:01:36 | 0:01:40 | |
mining area of Minas Gerais here, | 0:01:40 | 0:01:41 | |
to what's become one of the most famous cities in the world, | 0:01:41 | 0:01:45 | |
Rio de Janeiro. | 0:01:45 | 0:01:46 | |
SAMBA MUSIC | 0:01:46 | 0:01:48 | |
Someone once described this mineral-rich area as having | 0:02:19 | 0:02:22 | |
a breast of iron and a heart of gold | 0:02:22 | 0:02:24 | |
and I'm going straight to the heart, | 0:02:24 | 0:02:26 | |
courtesy of a British engine installed in 1825. | 0:02:26 | 0:02:30 | |
It's not so comfortable when you are high, for your legs. | 0:02:31 | 0:02:34 | |
No, I know, exactly. Yeah. Tall miners - no good. | 0:02:34 | 0:02:37 | |
And this looks like you go crash your head, but it's not dangerous. | 0:02:37 | 0:02:40 | |
OK. All right. | 0:02:40 | 0:02:41 | |
Accompanied by Icaro, I'm about to enter a gold mine, | 0:02:42 | 0:02:45 | |
closed recently after 227 years of production. | 0:02:45 | 0:02:49 | |
It was originally worked by slaves, | 0:02:54 | 0:02:56 | |
who'd often secrete gold dust in their hair or clothing | 0:02:56 | 0:02:59 | |
in the hope of using it to buy their freedom. | 0:02:59 | 0:03:02 | |
-OK. -So this was dynamited? -Yes. -This space was made by explosion? | 0:03:04 | 0:03:10 | |
Yeah, after the explosion they used to work it by hand | 0:03:10 | 0:03:12 | |
-to cut the rocks. -So this is not a natural cave, then? | 0:03:12 | 0:03:16 | |
-It's not natural. -Oh, wow. -It's industrial. | 0:03:16 | 0:03:18 | |
So you said the English worked this mine for a while? | 0:03:18 | 0:03:22 | |
100 years, from the 1827 to 1927. | 0:03:22 | 0:03:27 | |
-Really? -Yeah. -So most of the time, in the life of the mine, the gold... | 0:03:27 | 0:03:32 | |
-was that going straight back to England? -Yes. | 0:03:32 | 0:03:34 | |
But it's not official how many tons of gold England take from here. | 0:03:34 | 0:03:37 | |
Not official, because nobody knows where it went. | 0:03:37 | 0:03:40 | |
-And what's that little sort of...? -It's the St Barbara. | 0:03:41 | 0:03:45 | |
What are those there? | 0:03:45 | 0:03:47 | |
They're lipstick, because she is vain. | 0:03:47 | 0:03:49 | |
-Oh, she's vain, so she likes to look good? -Yeah. | 0:03:49 | 0:03:52 | |
So you bring her something to make her look better. | 0:03:52 | 0:03:54 | |
Yeah, yeah. Were the miners, I suppose, very religious? | 0:03:54 | 0:03:57 | |
-Yes. -Because they were doing a dangerous job... -Yes. | 0:03:57 | 0:04:01 | |
They had to believe that someone was looking after them. | 0:04:01 | 0:04:03 | |
Yeah, and she works a lot. | 0:04:03 | 0:04:04 | |
In Catholic religion, she is protector of the miners, the storm, | 0:04:04 | 0:04:08 | |
firemen, a lot of jobs she has. | 0:04:08 | 0:04:10 | |
-So St Barbara's got a lot to look after here? -Yes. | 0:04:10 | 0:04:13 | |
-Where would gold have been found? -OK... -And what kind of...? | 0:04:14 | 0:04:17 | |
The rock that there is gold inside is all rocks near the quartz. | 0:04:17 | 0:04:22 | |
-Yeah, so white quartz. -Yes. Tourmalinite, the black one. | 0:04:22 | 0:04:25 | |
And some rock is shiny - there is gold. Calcite, call it calcite. | 0:04:25 | 0:04:30 | |
-Oh, right. -We don't have gold in nugget, just golden powder. | 0:04:30 | 0:04:33 | |
Later, you do separate. | 0:04:33 | 0:04:35 | |
You've got to pan it. So they don't come out as blocks of gold? | 0:04:35 | 0:04:38 | |
-Yes, just in powder. -OK. | 0:04:38 | 0:04:39 | |
-The water there, very clear. -Very clear. -Yeah. | 0:04:41 | 0:04:44 | |
But you cannot drink. | 0:04:44 | 0:04:45 | |
For that is very good to get a bottle for mother-in-law, | 0:04:45 | 0:04:48 | |
because there is arsenic inside. | 0:04:48 | 0:04:49 | |
-Mother-in-law jokes! In a cave in Brazil - that's a first. -Yes. | 0:04:51 | 0:04:55 | |
It was gold that paid for the handsome buildings | 0:05:01 | 0:05:03 | |
of one of Brazil's most picturesque cities, Ouro Preto, | 0:05:03 | 0:05:08 | |
its streets almost unchanged since the 18th century. | 0:05:08 | 0:05:11 | |
Churches, built in gratitude for nature's bounty, | 0:05:14 | 0:05:17 | |
are everywhere in the town - | 0:05:17 | 0:05:19 | |
standing on conspicuous bluffs, like precious objects set on shelves. | 0:05:19 | 0:05:23 | |
The current mayor is at pains to point out | 0:05:32 | 0:05:34 | |
that the city's air of stability and prosperity was hard won. | 0:05:34 | 0:05:39 | |
Here, among these mountains, would be the worst place to build a city. | 0:05:39 | 0:05:45 | |
Tropical forest, Indians, mountains, | 0:05:45 | 0:05:49 | |
rivers, rains - it was very difficult. A big challenge. | 0:05:49 | 0:05:54 | |
But it was the richest area in black gold... | 0:05:54 | 0:05:58 | |
Because Ouro Preto means black gold enclosed in... | 0:05:58 | 0:06:03 | |
-Enclosed in iron... -Yes. So there was a gold rush? | 0:06:03 | 0:06:07 | |
Yes, there was a gold rush. | 0:06:07 | 0:06:09 | |
They thought that they were in the El Dorado. So it was the heaven. | 0:06:09 | 0:06:14 | |
It was the paradise. | 0:06:14 | 0:06:16 | |
The city has rebranded itself | 0:06:16 | 0:06:19 | |
as an important cultural and academic centre. | 0:06:19 | 0:06:22 | |
In a country where they're more proud of the present than the past, | 0:06:22 | 0:06:25 | |
Ouro Preto is a dazzling exception. | 0:06:25 | 0:06:27 | |
The precious metals of Minas Gerais | 0:06:35 | 0:06:37 | |
lie beneath outstandingly beautiful countryside, | 0:06:37 | 0:06:40 | |
and there's an ongoing struggle to balance the claims | 0:06:40 | 0:06:43 | |
of the environment and the economy. | 0:06:43 | 0:06:45 | |
My journey takes me | 0:06:46 | 0:06:48 | |
through the Serra do Cipo National Park, | 0:06:48 | 0:06:50 | |
which exists to protect 30,000 square kilometres | 0:06:50 | 0:06:54 | |
of high plateau habitat, | 0:06:54 | 0:06:56 | |
with rare birds, mammals and 2,000 species of plants. | 0:06:56 | 0:07:00 | |
THUNDER RUMBLES | 0:07:00 | 0:07:01 | |
But, as I'm to find out today, | 0:07:02 | 0:07:04 | |
mining is not the only threat to the environment. | 0:07:04 | 0:07:07 | |
The rain belts down as our vehicle slithers along a sodden dirt track. | 0:07:08 | 0:07:12 | |
Yet the trees seem to have been stripped by fire. | 0:07:12 | 0:07:15 | |
A minor cataclysm's happened here, as I discover | 0:07:17 | 0:07:20 | |
when I reach a house that only just survived. | 0:07:20 | 0:07:23 | |
-Hello. -Flick, is this your house? -This is my house. | 0:07:24 | 0:07:28 | |
Flick Taylor, a resourceful New Zealander, | 0:07:28 | 0:07:30 | |
has lived in the national park most of her adult life. | 0:07:30 | 0:07:34 | |
She's passionate about nature, | 0:07:34 | 0:07:35 | |
but only a day or two ago it very nearly killed her. | 0:07:35 | 0:07:40 | |
There was four days of fire right around us, and it was, yeah, | 0:07:40 | 0:07:44 | |
I can actually say it was the most frightening experience of my life. | 0:07:44 | 0:07:48 | |
I actually spotted it about 10 kilometres away, | 0:07:48 | 0:07:52 | |
sitting out on my veranda with my computer, | 0:07:52 | 0:07:54 | |
and it was very, very hot, very, very dry - | 0:07:54 | 0:07:56 | |
it hadn't rained for two months, and it just slowly came down. | 0:07:56 | 0:08:02 | |
And so the next morning it was already here at my neighbour's, | 0:08:02 | 0:08:07 | |
and then it jumped the road and it came roaring down - | 0:08:07 | 0:08:10 | |
it was a living hell. | 0:08:10 | 0:08:12 | |
I could see it coming, and what do I do? | 0:08:12 | 0:08:14 | |
So I got my little garden hose out and I'm watering it down | 0:08:14 | 0:08:18 | |
and thinking, going through my mind, "What the hell am I doing?" | 0:08:18 | 0:08:22 | |
You know, I'm playing with fire, basically. | 0:08:22 | 0:08:25 | |
And, you know, the reason I'm here is trying to conserve the nature, | 0:08:26 | 0:08:31 | |
and here I am, a victim of it. | 0:08:31 | 0:08:34 | |
So there were all those questions in my mind. | 0:08:34 | 0:08:37 | |
So you're actually beginning to be a bit sort of defeatist? | 0:08:37 | 0:08:39 | |
You don't look the sort of person who gets easily... | 0:08:39 | 0:08:42 | |
I was those days, but then I thought, | 0:08:42 | 0:08:45 | |
"No, this is... I just love it so much." | 0:08:45 | 0:08:47 | |
Flick first came to Brazil in the 1960s as an exchange student. | 0:08:50 | 0:08:54 | |
She fell in love with the country, | 0:08:54 | 0:08:56 | |
and shipped the family treasures all the way from New Zealand | 0:08:56 | 0:08:59 | |
to create the most elegant of log cabins. | 0:08:59 | 0:09:02 | |
Having survived the fire, she has returned with renewed resolve | 0:09:04 | 0:09:08 | |
to the fight that really matters to her. | 0:09:08 | 0:09:11 | |
Our big problem is the mining here. | 0:09:11 | 0:09:13 | |
They are building the biggest duct in the world. | 0:09:13 | 0:09:17 | |
It goes to the port in Rio, | 0:09:17 | 0:09:19 | |
and they're about to bring 9,000 men | 0:09:19 | 0:09:23 | |
into this little historical city right close. | 0:09:23 | 0:09:27 | |
It's changed everything overnight - | 0:09:27 | 0:09:31 | |
socially, economically, culturally, historically, | 0:09:31 | 0:09:36 | |
because they're pulling down old colonial farms and everything. | 0:09:36 | 0:09:42 | |
Flick has got a battle on her hands. | 0:09:46 | 0:09:48 | |
The gold may have run out, but iron ore, | 0:09:48 | 0:09:50 | |
the black in which the gold was first found, | 0:09:50 | 0:09:53 | |
now underpins Brazil's economic boom. | 0:09:53 | 0:09:56 | |
TRAIN HORN BLASTS | 0:09:57 | 0:09:59 | |
And most of it is here in Minas. | 0:10:01 | 0:10:03 | |
A series of huge, man-made craters | 0:10:05 | 0:10:08 | |
has been scoured out of the surrounding plateau, | 0:10:08 | 0:10:11 | |
like this one, dug by Vale, | 0:10:11 | 0:10:13 | |
the world's second largest iron ore producer. | 0:10:13 | 0:10:16 | |
Everything here is larger than life, | 0:10:31 | 0:10:33 | |
including the trucks that carry the excavated rocks up to the surface. | 0:10:33 | 0:10:38 | |
When I'm in the cab, it's like being on the bridge of a ship. | 0:10:41 | 0:10:44 | |
Dagmar, my driver, brings up 150 tonne-loads of rock each trip. | 0:10:58 | 0:11:03 | |
12 million tonnes of iron ore were produced here last year, | 0:11:06 | 0:11:10 | |
much of it going to China. | 0:11:10 | 0:11:11 | |
At present, production goes on 24 hours a day, seven days a week, | 0:11:16 | 0:11:21 | |
but world demand is beginning to wobble. | 0:11:21 | 0:11:24 | |
Another iron ore train leaves for the coast, | 0:11:24 | 0:11:27 | |
but Brazil's mining industry might soon have to start slowing down. | 0:11:27 | 0:11:31 | |
Away from the mining operations, | 0:11:39 | 0:11:40 | |
the Brazilian outback remains delightfully eccentric. | 0:11:40 | 0:11:44 | |
I've been directed to a small farm in the hills | 0:11:44 | 0:11:47 | |
to see something rather remarkable. | 0:11:47 | 0:11:49 | |
I'm told one of your cows has five legs, is this possible? | 0:11:51 | 0:11:56 | |
-TRANSLATION: -Yes, it has five legs | 0:11:57 | 0:11:59 | |
and two reproductive and digestive systems. | 0:11:59 | 0:12:01 | |
When that calf was born, | 0:12:03 | 0:12:05 | |
all the neighbourhood knew about it. | 0:12:05 | 0:12:07 | |
It became famous. Nobody had ever heard | 0:12:07 | 0:12:10 | |
anything like this in the area. That's why I called her Surprise. | 0:12:10 | 0:12:14 | |
Surprise, oh, yeah. | 0:12:14 | 0:12:15 | |
The ever-cheerful owner of the mutant cow is Josaire Branco. | 0:12:17 | 0:12:20 | |
Born and bred in this remote spot, he is a subsistence farmer, | 0:12:22 | 0:12:27 | |
producing everything he needs - from chickens to coffee to milk and beef. | 0:12:27 | 0:12:31 | |
Yes, my father built the house you see in the back there, | 0:12:34 | 0:12:38 | |
where he then raised his family. | 0:12:38 | 0:12:39 | |
I only built this house ten years ago. | 0:12:41 | 0:12:43 | |
We all grew up in the old house. My father was from a German family | 0:12:43 | 0:12:47 | |
and my mother from an English family. | 0:12:47 | 0:12:49 | |
Did you go to school around here? | 0:12:50 | 0:12:53 | |
Or what sort of education did you have? | 0:12:53 | 0:12:56 | |
I went to the school round here for five years, | 0:12:58 | 0:13:01 | |
but, to be honest, I didn't learn much, and what I learned, I forgot. | 0:13:01 | 0:13:05 | |
I've worked on the farm since I was eight, | 0:13:07 | 0:13:09 | |
working in the fields and stables. | 0:13:09 | 0:13:11 | |
All my life, I've provided for my family by working on the farm. | 0:13:11 | 0:13:16 | |
I was never an employee. I never had a boss and never worked in the city. | 0:13:16 | 0:13:20 | |
I have an OK life now - it's not full of riches, but of tranquillity. | 0:13:20 | 0:13:26 | |
Good man. | 0:13:28 | 0:13:30 | |
From the simplicity of Josaire's farm, | 0:13:31 | 0:13:34 | |
I'm off to one of the fastest-growing cities in Brazil - | 0:13:34 | 0:13:37 | |
the state capital of Minas, Belo Horizonte. | 0:13:37 | 0:13:41 | |
Reflecting the mineral | 0:13:41 | 0:13:42 | |
and agricultural abundance that surrounds it, | 0:13:42 | 0:13:45 | |
it's grown from provincial backwater | 0:13:45 | 0:13:47 | |
to the sixth-biggest city in the country. | 0:13:47 | 0:13:50 | |
The huge central market is filled | 0:13:50 | 0:13:52 | |
with everything you could ever want, and lots of it. | 0:13:52 | 0:13:56 | |
Cheese. | 0:13:56 | 0:13:58 | |
Cheese again. | 0:13:59 | 0:14:01 | |
Lot of cheese shops. | 0:14:02 | 0:14:04 | |
Actually, I have to say, it's not a very interesting observation, | 0:14:04 | 0:14:07 | |
but I've never seen so many cheese shops in one area | 0:14:07 | 0:14:09 | |
in my entire life. There's another one there and there. | 0:14:09 | 0:14:13 | |
It all looks a bit the same, you know, | 0:14:13 | 0:14:15 | |
kind of that rather whitey cheese, but I think they eat it here | 0:14:15 | 0:14:19 | |
with coffee and all sorts of stuff. | 0:14:19 | 0:14:21 | |
Coffee continues to be a big money earner for Brazil. | 0:14:25 | 0:14:28 | |
It's taken so seriously | 0:14:28 | 0:14:30 | |
that this city has its own academy of coffee, | 0:14:30 | 0:14:32 | |
dedicated entirely to its preparation and dispensation. | 0:14:32 | 0:14:35 | |
Its hyperactive owner is Bruno Souza. | 0:14:37 | 0:14:40 | |
And this is from my favourite farm, my dad's farm. | 0:14:42 | 0:14:45 | |
Your dad's farm? Ah, yes. | 0:14:45 | 0:14:46 | |
We only produce 25 bags of this coffee a year. | 0:14:46 | 0:14:50 | |
This is the best, as far as you're concerned, | 0:14:50 | 0:14:52 | |
-not just cos it's your dad's? -You know what? | 0:14:52 | 0:14:54 | |
This is different. They call this coffee Sweet Tooth. | 0:14:54 | 0:14:57 | |
It's very sweet. My wife hates this coffee. | 0:14:57 | 0:15:00 | |
Hmm. So coffee's really important to Minas still? | 0:15:00 | 0:15:03 | |
Yes. It's the biggest. Only for the iron. | 0:15:03 | 0:15:07 | |
-Oh, right. Only iron ore's bigger? -Yeah. | 0:15:07 | 0:15:10 | |
Now, they are increasing because the prices. It's very high. | 0:15:10 | 0:15:13 | |
I never see coffee this price in all my whole life. | 0:15:13 | 0:15:16 | |
-Really? It's the highest at the moment...? -The highest. | 0:15:16 | 0:15:18 | |
That it's ever been in the world market? | 0:15:18 | 0:15:20 | |
Can I ask you, Bruno, how many cups of coffee do you drink a day? | 0:15:20 | 0:15:23 | |
Probably one and a half litres a day. | 0:15:23 | 0:15:27 | |
-One and a half litres? -Yes. | 0:15:27 | 0:15:29 | |
-What, litres? Really? -Yes. Almost one of those a day. | 0:15:29 | 0:15:33 | |
Plus four or five espressos. | 0:15:33 | 0:15:36 | |
-To get you in the mood for the litre? -Yes! | 0:15:36 | 0:15:38 | |
Do you sleep well? | 0:15:38 | 0:15:40 | |
Yes, like a baby. | 0:15:40 | 0:15:41 | |
-Yeah, look, look at this. -Yeah. | 0:15:43 | 0:15:47 | |
Here. | 0:15:47 | 0:15:48 | |
That's it. | 0:15:53 | 0:15:54 | |
'Having qualified as a taster, I'm now to be retrained as a barista.' | 0:15:54 | 0:15:58 | |
This is how we call the Ferrari of the espresso machine. | 0:15:58 | 0:16:01 | |
This is an Italian machine. | 0:16:01 | 0:16:03 | |
They have hundreds already. | 0:16:04 | 0:16:06 | |
THEY READ IN ITALIAN | 0:16:06 | 0:16:08 | |
-Made in Florence. -Made in Florence. | 0:16:08 | 0:16:12 | |
MUSIC: The Coffee Song by Frank Sinatra | 0:16:12 | 0:16:14 | |
# Way down among Brazilians coffee beans grow by the billions | 0:16:14 | 0:16:17 | |
# So they've got to find those extra cups to fill | 0:16:17 | 0:16:21 | |
# They've got an awful lot of coffee in Brazil | 0:16:21 | 0:16:25 | |
# A politician's daughter was accused of drinking water | 0:16:27 | 0:16:32 | |
# And was fined a great big fifty dollar bill | 0:16:32 | 0:16:36 | |
# They've got an awful lot of coffee in Brazil... # | 0:16:36 | 0:16:40 | |
This is better, you can see by the colour. | 0:16:48 | 0:16:51 | |
OK. Cheers. Here's to my first proper espresso cup. | 0:16:51 | 0:16:54 | |
Hmm. It's not bad. Not bad. | 0:16:58 | 0:17:01 | |
Oh, yes. A heart. | 0:17:04 | 0:17:06 | |
Not too frothy. | 0:17:06 | 0:17:08 | |
Creamy, adds a little bit of richness to it. | 0:17:10 | 0:17:13 | |
Bit of pomegranate, possibly. | 0:17:17 | 0:17:18 | |
Or is it guava? | 0:17:21 | 0:17:23 | |
I think a hint of guava. | 0:17:23 | 0:17:24 | |
Just got to know the words, that's the thing, got to know the words. | 0:17:26 | 0:17:28 | |
-Thank you. -You're welcome. | 0:17:30 | 0:17:31 | |
I won't be able to have a coffee anywhere in the world | 0:17:31 | 0:17:33 | |
-apart from this room! -No, you can't! | 0:17:33 | 0:17:35 | |
Bidding farewell to the streets of Belo Horizonte, | 0:17:37 | 0:17:40 | |
I head south to the one Brazilian city everybody knows. | 0:17:40 | 0:17:45 | |
A city of six and a half million, Rio de Janeiro is celebrated | 0:17:50 | 0:17:54 | |
across the world for the beauty of its setting. | 0:17:54 | 0:17:56 | |
In the early days, the Portuguese narrowly defeated the French | 0:17:59 | 0:18:03 | |
for control of the city. | 0:18:03 | 0:18:04 | |
Their victory paid off. | 0:18:04 | 0:18:06 | |
Boosted by the export of gold from the interior, | 0:18:06 | 0:18:09 | |
Rio grew to become, for 125 years, | 0:18:09 | 0:18:12 | |
one of the great capital cities of the world. | 0:18:12 | 0:18:14 | |
Its wide bays, long beaches and forested slopes | 0:18:17 | 0:18:19 | |
make it a seductive playground, | 0:18:19 | 0:18:21 | |
which its inhabitants, known as Cariocans, | 0:18:21 | 0:18:24 | |
modestly call cidade maravilhosa, the marvellous city. | 0:18:24 | 0:18:29 | |
The classic features of Rio are the granite peaks | 0:18:35 | 0:18:38 | |
that rise from the heart of the city, | 0:18:38 | 0:18:41 | |
too steep and too sheer to build on. | 0:18:41 | 0:18:42 | |
Which is what they thought until 1931, | 0:18:44 | 0:18:46 | |
when one of the most iconic statues in the world was raised | 0:18:46 | 0:18:50 | |
on Corcovado, Hunchback Mountain. | 0:18:50 | 0:18:53 | |
It's known as Cristo Redentor, Christ the Redeemer. | 0:18:54 | 0:18:58 | |
Soon they'll be celebrating the 80th anniversary | 0:18:59 | 0:19:01 | |
of the triumphant unveiling of what has become the symbol of Rio. | 0:19:01 | 0:19:05 | |
I'm meeting up with Bel Noronha, great-granddaughter of the man | 0:19:09 | 0:19:12 | |
in charge of designing and building the statue, Heitor da Silva Costa. | 0:19:12 | 0:19:18 | |
Was he a very religious man, your great-grandfather? | 0:19:19 | 0:19:22 | |
No, no. No, I think he was originally ateu. | 0:19:22 | 0:19:25 | |
-Yeah, atheist? -Atheist, yes. | 0:19:25 | 0:19:27 | |
By the time he'd done the Cristo Redentor he was a bit... | 0:19:27 | 0:19:31 | |
Not Christian, but by the time of the Cristo Redentor | 0:19:31 | 0:19:34 | |
he was totally Christian, totally. Totally. | 0:19:34 | 0:19:37 | |
We take the train up Corcovado Mountain to see the Redentor | 0:19:45 | 0:19:48 | |
in close-up. | 0:19:48 | 0:19:50 | |
During its five year construction, | 0:19:50 | 0:19:52 | |
all the materials had to be brought up by cog railway. | 0:19:52 | 0:19:56 | |
And this always crowded two-car shuttle is still the quickest | 0:19:56 | 0:20:00 | |
and most spectacular way to get to the top. | 0:20:00 | 0:20:03 | |
It is amazing. It's really simple. | 0:20:42 | 0:20:44 | |
The lines are very clean and clear, aren't they? | 0:20:44 | 0:20:46 | |
Simplicity for me is the most important thing. | 0:20:46 | 0:20:50 | |
But the result is amazing. | 0:20:50 | 0:20:52 | |
And you said that just having the head tilting forward | 0:20:52 | 0:20:55 | |
-cost a lot of extra money? -Yes. | 0:20:55 | 0:20:57 | |
This is one I really particularly like. | 0:20:58 | 0:21:01 | |
They're just taking the scaffolding down, I presume, | 0:21:01 | 0:21:04 | |
and there's the Christ almost sort of rising out of the scaffold. | 0:21:04 | 0:21:09 | |
-Now what's happening here? -That's the inauguration. | 0:21:09 | 0:21:12 | |
-October 1931. -Yes, 12th October. | 0:21:12 | 0:21:14 | |
So there you can see a lot of people - | 0:21:14 | 0:21:16 | |
there was the President of Brazil, there was... | 0:21:16 | 0:21:19 | |
Yeah, what did it do for the sort of national spirit? | 0:21:19 | 0:21:21 | |
Was there a national attitude towards it? | 0:21:21 | 0:21:24 | |
-Or was it just Cariocan? -No, no, national, actually, | 0:21:24 | 0:21:28 | |
because the money to raise the Christ came from all around Brazil. | 0:21:28 | 0:21:31 | |
-OK. Yeah. -So there's people from all around Brazil - | 0:21:31 | 0:21:35 | |
Minas, even the Indians, the Indians gave money for it, | 0:21:35 | 0:21:40 | |
so it was really made by the whole Brazil. | 0:21:40 | 0:21:43 | |
The figure has colossal strength, | 0:21:43 | 0:21:46 | |
but it's a strength that lies in restraint. | 0:21:46 | 0:21:49 | |
With just the fall of the robe, | 0:21:49 | 0:21:51 | |
the tilt of the head, the long, shielding hands, | 0:21:51 | 0:21:54 | |
its makers have created a study of compassion | 0:21:54 | 0:21:57 | |
as both powerful and universal. | 0:21:57 | 0:21:59 | |
The Brazilians have always had a flair for design and decoration, | 0:22:21 | 0:22:25 | |
but I didn't expect to find such an example at a football ground. | 0:22:25 | 0:22:29 | |
Tim Vickery, an English sports journalist, introduces me | 0:22:29 | 0:22:33 | |
to the splendours of one of Rio's most famous clubs - Fluminense. | 0:22:33 | 0:22:37 | |
The rooms inside take the breath away, with 100-year-old ballrooms | 0:22:41 | 0:22:46 | |
and stained glass windows. | 0:22:46 | 0:22:48 | |
So, Tim, how did soccer begin in Brazil? | 0:22:51 | 0:22:54 | |
Well, I think we're standing in it. | 0:22:54 | 0:22:56 | |
We're standing in the history of Brazilian football. | 0:22:56 | 0:22:59 | |
Brazil played their first game here. | 0:22:59 | 0:23:02 | |
-1914. -Fantastic. -Against Exeter City. -Really? | 0:23:02 | 0:23:05 | |
It was the first ever game played by Brazil. | 0:23:07 | 0:23:10 | |
-What was the score? -2-0 to Brazil. | 0:23:10 | 0:23:12 | |
There are some reports that say Exeter walked off | 0:23:12 | 0:23:15 | |
-because it was too hot. -Really? | 0:23:15 | 0:23:18 | |
Was there any technical superiority | 0:23:19 | 0:23:21 | |
that Brazilian players had over others? | 0:23:21 | 0:23:24 | |
Were they just able to kick the ball better? | 0:23:24 | 0:23:27 | |
In Brazil, one of the great things about football is this process | 0:23:27 | 0:23:31 | |
whereby the guy who's been born a pawn, he becomes a king. | 0:23:31 | 0:23:35 | |
He comes up with a little bit of magic. | 0:23:35 | 0:23:38 | |
You've got the ball, you do a little shimmy, | 0:23:38 | 0:23:41 | |
I fall on my backside. You've humiliated me. | 0:23:41 | 0:23:45 | |
In that moment, you're the pawn who becomes king. | 0:23:45 | 0:23:49 | |
-Tables turned. -Exactly. | 0:23:49 | 0:23:50 | |
That's the moment that the crowd most responds to - | 0:23:50 | 0:23:54 | |
someone who is being humiliated by this piece of individual magic. | 0:23:54 | 0:23:58 | |
I think you can see, you can see these individual skills as almost | 0:23:58 | 0:24:05 | |
a metaphor for the abilities that the poor kid needs to survive. | 0:24:05 | 0:24:11 | |
One distinctive feature of Brazilian football | 0:24:11 | 0:24:13 | |
is the manically excitable commentary | 0:24:13 | 0:24:15 | |
that accompanies every goal. | 0:24:15 | 0:24:17 | |
COMMENTATOR SCREAMS | 0:24:18 | 0:24:22 | |
Tim takes me to a studio | 0:24:23 | 0:24:24 | |
to meet one of its most accomplished practitioners - Andre Henne. | 0:24:24 | 0:24:28 | |
GO-O-O-O-O-AL! | 0:24:30 | 0:24:44 | |
ANDRE SHOUTS IN PORTUGUESE | 0:24:44 | 0:24:47 | |
-This is the way we do it in Brazil. -Fantastic. | 0:24:51 | 0:24:54 | |
-We sweat as much as the player. You should try it. -Yeah. Well, OK. | 0:24:56 | 0:25:01 | |
-Let's do it. -All right, let's do it. | 0:25:01 | 0:25:03 | |
ANDRE SHOUTS IN PORTUGUESE | 0:25:03 | 0:25:05 | |
-Do I have to hold...? Just do it. OK. -Yeah, you can... | 0:25:05 | 0:25:08 | |
I might need you to guide me in the first instance. | 0:25:08 | 0:25:11 | |
-This is Neymar. -Neymar. Neymar! | 0:25:11 | 0:25:14 | |
He's going to receive the ball and he's going to score. He's good. | 0:25:14 | 0:25:18 | |
Yeah. | 0:25:18 | 0:25:19 | |
Oh, Neymar! The ball's gone to Neymar! Neymar got the ball! | 0:25:19 | 0:25:22 | |
He's gone and lofted it over the goalkeeper! | 0:25:22 | 0:25:25 | |
GO-O-O-OAL! | 0:25:25 | 0:25:34 | |
-Oh. I see what you mean. You've got to hit the right pitch. -It was good. | 0:25:35 | 0:25:39 | |
Spurred on by his compliment, | 0:25:39 | 0:25:41 | |
I rather unwisely challenge Andre to an against-the-clock contest. | 0:25:41 | 0:25:46 | |
GO-O-O-O-OAL! | 0:25:46 | 0:26:02 | |
Brazil! Brazil! Brazil! | 0:26:04 | 0:26:06 | |
19 seconds. That was just brilliant. | 0:26:08 | 0:26:10 | |
All right. | 0:26:12 | 0:26:13 | |
Neymar! He's onside. He's gone through, | 0:26:14 | 0:26:16 | |
and he's lofting it over the goalie! | 0:26:16 | 0:26:18 | |
GO-O-O-O-AL! | 0:26:18 | 0:26:30 | |
-Ten seconds. -About that. -Yeah. You're a champ. | 0:26:31 | 0:26:34 | |
You're a champ. | 0:26:34 | 0:26:36 | |
The classic images of Brazil are nearly all the classic images | 0:26:49 | 0:26:53 | |
of Rio - Sugar Loaf Mountain, the Christ statue, | 0:26:53 | 0:26:56 | |
the beaches of Copacabana and Ipanema. | 0:26:56 | 0:27:00 | |
Am I going to see these images relentlessly replayed | 0:27:00 | 0:27:02 | |
over the next few years as Rio hosts first the World Cup in 2014, | 0:27:02 | 0:27:07 | |
and then the Olympics in 2016? | 0:27:07 | 0:27:10 | |
And the image of Rio as a colourful, | 0:27:11 | 0:27:13 | |
glamorous, fun city, not particularly on a day like today, | 0:27:13 | 0:27:17 | |
they're real enough, | 0:27:17 | 0:27:18 | |
but there's another side to it, and that's the lawlessness | 0:27:18 | 0:27:22 | |
and violence that spills down from some of the favelas, | 0:27:22 | 0:27:25 | |
the shanty towns, | 0:27:25 | 0:27:27 | |
where over a million of the poorest people in Rio live. | 0:27:27 | 0:27:30 | |
The big story in the city at the moment is how to heal the divisions, | 0:27:31 | 0:27:35 | |
how to make the city one, how to wrest power away | 0:27:35 | 0:27:37 | |
from the drug barons in the favelas | 0:27:37 | 0:27:40 | |
and give it back to the people who live there. | 0:27:40 | 0:27:42 | |
If this is successful, | 0:27:43 | 0:27:45 | |
it will have profound implications for the future of the city. | 0:27:45 | 0:27:49 | |
It's a mixture of construction and ruin at the same time, but | 0:27:49 | 0:27:52 | |
every time you come here you see construction being done, | 0:27:52 | 0:27:56 | |
intensively, you know, it looks like...and in Brazil... | 0:27:56 | 0:27:59 | |
'The latest project of Vik Muniz, | 0:27:59 | 0:28:01 | |
'a Brazilian artist with an international reputation, | 0:28:01 | 0:28:04 | |
'is to set up an art school in a beautiful location | 0:28:04 | 0:28:07 | |
'overlooking Ipanema beach. | 0:28:07 | 0:28:09 | |
'But there's a twist to the tale. | 0:28:10 | 0:28:13 | |
'This hillside location is already occupied by a rambling, | 0:28:13 | 0:28:16 | |
'unpacified favela called Vidigal.' | 0:28:16 | 0:28:19 | |
When I started coming to Rio... | 0:28:21 | 0:28:22 | |
..you're, like, in San Tropez | 0:28:24 | 0:28:25 | |
surrounded by Mogadishu from outsides, | 0:28:25 | 0:28:28 | |
and then you really...to be in a place, | 0:28:28 | 0:28:31 | |
you have to be in the city as a whole. | 0:28:31 | 0:28:34 | |
So we're in one of the poorest areas of Rio, | 0:28:34 | 0:28:36 | |
looking down on one of the richest. Usually, it's the other way around. | 0:28:36 | 0:28:39 | |
Yeah, in Rio you have this geographic inversion | 0:28:39 | 0:28:43 | |
where the rich lives on the lower part, you know, near the beach, | 0:28:43 | 0:28:47 | |
and the poor people occupy most of the hills around the city. | 0:28:47 | 0:28:51 | |
It's interesting to think that most people who live in the rich areas, | 0:28:51 | 0:28:54 | |
like Ipanema Lis Blanc, | 0:28:54 | 0:28:55 | |
they've never seen it from here. They've never come up here. | 0:28:55 | 0:28:58 | |
If you go down to the south side and ask the rich people down there | 0:28:58 | 0:29:02 | |
how many times they've been to their maid's house or their nanny's, | 0:29:02 | 0:29:07 | |
they've never done it, you know. | 0:29:07 | 0:29:09 | |
They don't know where they live - they don't know anything about them. | 0:29:09 | 0:29:12 | |
It's completely...it's very dogmatic, how these two... | 0:29:12 | 0:29:16 | |
That's a big thing to break down, though, isn't it? | 0:29:16 | 0:29:19 | |
I mean, that's going to take a long time. | 0:29:19 | 0:29:22 | |
You know, the authorities are rushing | 0:29:22 | 0:29:24 | |
toward some kind of closure about it | 0:29:24 | 0:29:26 | |
because of the Olympics and the World Cup, | 0:29:26 | 0:29:29 | |
but I think what's happening right now in the next six years, | 0:29:29 | 0:29:34 | |
it would have taken 25 years to happen otherwise. | 0:29:34 | 0:29:38 | |
Most of the people who live in the favelas, | 0:29:38 | 0:29:41 | |
they've been stigmatised by the crime and the drug traffic, | 0:29:41 | 0:29:44 | |
you know, the violence. The crime only comes from, like, | 0:29:44 | 0:29:48 | |
a tiny percentage of the people who live here. | 0:29:48 | 0:29:51 | |
It's on the beaches of Rio | 0:30:01 | 0:30:02 | |
where the various sides of the city meet as equals, | 0:30:02 | 0:30:05 | |
where the gap between the favelas and the favoured almost disappears. | 0:30:05 | 0:30:10 | |
We were up there on that little headland under the two peaks, | 0:30:12 | 0:30:16 | |
in the poor looking down on the rich, | 0:30:16 | 0:30:18 | |
and now we're in amongst the rich. | 0:30:18 | 0:30:20 | |
Now, this is the most expensive square metre | 0:30:20 | 0:30:23 | |
in the southern hemisphere, | 0:30:23 | 0:30:25 | |
-is Ipanema here and Lis Blanc, you know. -OK, yeah. | 0:30:25 | 0:30:28 | |
But interestingly, even though this is the richest area, | 0:30:30 | 0:30:34 | |
it's actually one area where these two worlds collide, | 0:30:34 | 0:30:37 | |
you know, the people come down to the beach | 0:30:37 | 0:30:40 | |
and the beach is like... | 0:30:40 | 0:30:42 | |
Even with cellphones, if you don't come to the beach, | 0:30:42 | 0:30:45 | |
you don't know where to go after, you have to leave the beach, | 0:30:45 | 0:30:49 | |
so the entire... everything that happens | 0:30:49 | 0:30:52 | |
in Rio happens around the concept of where you stay on the beach. | 0:30:52 | 0:30:55 | |
And the beach itself is kind of... I mean, | 0:30:55 | 0:30:59 | |
it's segregated in certain ways, isn't it? Areas of influence? | 0:30:59 | 0:31:05 | |
It has a conventional map that shifts and changes with time, | 0:31:05 | 0:31:11 | |
but here we are, we are at Arpoador, | 0:31:11 | 0:31:14 | |
this part here is mostly visited by... | 0:31:14 | 0:31:17 | |
it's where I go to the beach, it's like artists, | 0:31:17 | 0:31:21 | |
actors, intellectuals and writers, and if you drift a little bit south | 0:31:21 | 0:31:27 | |
you get Posto 9, like communists, | 0:31:27 | 0:31:30 | |
and before that there's the gay area, | 0:31:30 | 0:31:33 | |
and this was the artists' area, | 0:31:33 | 0:31:35 | |
the gay artists stay sort of in between... | 0:31:35 | 0:31:38 | |
Gay artists, intellectual communists can stride the beach. | 0:31:38 | 0:31:41 | |
Oh, yeah, and after that is the really good-looking people, | 0:31:41 | 0:31:45 | |
you know, like teenagers and so on, so every place, you know, | 0:31:45 | 0:31:49 | |
for people to know where you are, | 0:31:49 | 0:31:51 | |
and then if you start a conversation in a bar, | 0:31:51 | 0:31:55 | |
it basically starts like this, "Where do you stay on the beach?" | 0:31:55 | 0:31:59 | |
That is very revealing, you know, it tells a lot about you. | 0:31:59 | 0:32:03 | |
-Oh, that would say everything about you, yeah. -Yeah. | 0:32:03 | 0:32:05 | |
Who decides these things? I mean, how do they do it? | 0:32:05 | 0:32:09 | |
I mean, supposing the communists | 0:32:09 | 0:32:11 | |
wanted to move in on the very, very beautiful people's area? | 0:32:11 | 0:32:14 | |
They will have to change their ideology! | 0:32:14 | 0:32:16 | |
THEY LAUGH | 0:32:16 | 0:32:18 | |
The policy of pacification, designed to wrest control | 0:32:26 | 0:32:29 | |
of the favelas from criminal gangs, is spearheaded | 0:32:29 | 0:32:33 | |
by a crack paramilitary force called BOPE, | 0:32:33 | 0:32:36 | |
a special operations battalion. | 0:32:36 | 0:32:38 | |
They're trained to be very nasty, and such is their reputation | 0:32:39 | 0:32:43 | |
that the drug barons usually disappear rather than take them on. | 0:32:43 | 0:32:47 | |
I'm here at their training base to talk to Captain Melissa Nevez, | 0:32:50 | 0:32:53 | |
one of only six women in the elite squad. | 0:32:53 | 0:32:57 | |
Captain, in the pacification programme, | 0:32:57 | 0:33:00 | |
at what point do BOPE intervene? | 0:33:00 | 0:33:02 | |
-TRANSLATION: -BOPE is the first force to go into the community, | 0:33:02 | 0:33:08 | |
it takes back the neighbourhood and gives it back to the state. | 0:33:08 | 0:33:12 | |
During this process BOPE confiscates drugs and guns | 0:33:14 | 0:33:18 | |
from the gangsters and makes the place free from drug trafficking. | 0:33:18 | 0:33:21 | |
It tries to forge a relationship with the local community. | 0:33:22 | 0:33:26 | |
It listens to the community, | 0:33:26 | 0:33:27 | |
organises events like football competitions | 0:33:27 | 0:33:29 | |
and gets involved with them. We try to make the community free again. | 0:33:29 | 0:33:35 | |
When you go into a favela with BOPE, | 0:33:35 | 0:33:40 | |
how are you received by the people in the favela? | 0:33:40 | 0:33:44 | |
How do they react to you and BOPE? | 0:33:44 | 0:33:47 | |
When they see me and the other women members of BOPE, | 0:33:48 | 0:33:52 | |
people are really surprised. | 0:33:52 | 0:33:54 | |
They think there are no women in BOPE. | 0:33:54 | 0:33:56 | |
It's good to soften the tough, | 0:33:56 | 0:33:58 | |
aggressive image people have of the force. I think it's good for BOPE | 0:33:58 | 0:34:01 | |
to have female members, it conveys a new image to the community. | 0:34:01 | 0:34:05 | |
It shows we work with the community, | 0:34:07 | 0:34:09 | |
we're not just about confronting them. | 0:34:09 | 0:34:11 | |
Also the kids, they come running up to us. It's heartening to see. | 0:34:11 | 0:34:15 | |
So there we are, motto of the special forces, Va E Venca! | 0:34:17 | 0:34:21 | |
Go and win. And that's what I intend to do. | 0:34:21 | 0:34:24 | |
The removal of the drug gangs is only the first step. | 0:34:33 | 0:34:36 | |
What matters most is to stop them returning. | 0:34:36 | 0:34:40 | |
There are many barriers to be broken down | 0:34:40 | 0:34:43 | |
before the people of the favela can feel part of, not apart from, | 0:34:43 | 0:34:47 | |
the rest of the city. | 0:34:47 | 0:34:48 | |
In the favela called Tabajaras, something unusual is happening. | 0:34:49 | 0:34:53 | |
A celebration is being held for the opening of a community centre. | 0:34:53 | 0:34:57 | |
But here's the paradox, the building they're using | 0:34:57 | 0:35:01 | |
was once the centre of the drug barons' operation. | 0:35:01 | 0:35:03 | |
As a symbol of how much has changed, | 0:35:08 | 0:35:10 | |
the police band has turned up to kick off proceedings. | 0:35:10 | 0:35:13 | |
The favelas have a rather forbidding aspect | 0:35:42 | 0:35:45 | |
and they have a fearsome reputation, bad places, | 0:35:45 | 0:35:48 | |
places you don't go to, a distinct feeling of us and them. | 0:35:48 | 0:35:52 | |
People like ourselves wouldn't have been allowed in here | 0:35:52 | 0:35:55 | |
a few years ago, it would just have been out of the question, | 0:35:55 | 0:35:58 | |
far too dangerous, but also to find that the people we've met today | 0:35:58 | 0:36:02 | |
starting these projects, the way they look at the people here | 0:36:02 | 0:36:05 | |
is that as, you know, these are the people who live here. | 0:36:05 | 0:36:08 | |
The people in the favelas are not social problems, | 0:36:08 | 0:36:12 | |
they're human beings, and that must be, you know, | 0:36:12 | 0:36:15 | |
the first step on the way to any reconciliation. | 0:36:15 | 0:36:18 | |
Here in one of the largest favelas in Rio, the Complexo Do Alemao, | 0:36:31 | 0:36:36 | |
were fought the fiercest battles between drug gangs and police. | 0:36:36 | 0:36:40 | |
After pacification, the city poured in funds to improve | 0:36:47 | 0:36:51 | |
the infrastructure, most notably in a cable car system. | 0:36:51 | 0:36:55 | |
This unites the favela and links it to the rest of the city | 0:36:55 | 0:36:59 | |
through colourful, state of the art stations. | 0:36:59 | 0:37:01 | |
Victor, from the mayor's office, takes me for a ride. | 0:37:12 | 0:37:17 | |
How much difference does this make in travel time | 0:37:17 | 0:37:19 | |
-to the people who live up on the hill? -A huge difference, | 0:37:19 | 0:37:22 | |
because sometimes people could take, like, 40 minutes | 0:37:22 | 0:37:24 | |
-to get to the top of the hill... -40 minutes just to get... | 0:37:24 | 0:37:27 | |
40 minutes, an hour, depending on the person. | 0:37:27 | 0:37:29 | |
Now it's 10, 15 minutes at most. | 0:37:29 | 0:37:31 | |
The city hall has a huge project in Complexo Do Alemao. | 0:37:34 | 0:37:37 | |
We are building housing, we are bringing asphalt to the streets, | 0:37:37 | 0:37:41 | |
we are bringing business, we are also helping people | 0:37:41 | 0:37:44 | |
to establish new business, of course, | 0:37:44 | 0:37:46 | |
through developing employment here. | 0:37:46 | 0:37:49 | |
Sewage system, water systems, so the idea really | 0:37:49 | 0:37:51 | |
is to integrate the favela, | 0:37:51 | 0:37:53 | |
integrate Complexo Do Alemao to the rest of the city, | 0:37:53 | 0:37:56 | |
because Rio is a marvellous city, but the favelas are not. | 0:37:56 | 0:37:59 | |
So we have to make it as marvellous as the city. | 0:37:59 | 0:38:01 | |
-It's a lot of work to do, isn't it, really? -Look around. | 0:38:01 | 0:38:04 | |
How much does it cost to use? | 0:38:12 | 0:38:14 | |
People who live in Complexo Do Alemao don't pay anything, | 0:38:14 | 0:38:17 | |
it's free for them, they can use the cable car system | 0:38:17 | 0:38:21 | |
twice a day, but people from...tourists, for example, | 0:38:21 | 0:38:24 | |
have to pay for every trip. | 0:38:24 | 0:38:26 | |
At one of the shiny new stations, Victor introduces me to Raul, | 0:38:34 | 0:38:38 | |
a young man who knew the bad times. | 0:38:38 | 0:38:40 | |
Raul, what was life like in the Complexo Do Alemao before? | 0:38:41 | 0:38:47 | |
-TRANSLATION: -Life before pacification was really hard. | 0:38:51 | 0:38:55 | |
We had to live between the guns, drug dealers and drug consumption. | 0:38:55 | 0:39:00 | |
All this is changing now, which is not saying that things are perfect, | 0:39:00 | 0:39:03 | |
but they seem to be heading in the right direction. | 0:39:03 | 0:39:06 | |
People overall seem happy about these changes, | 0:39:06 | 0:39:09 | |
and the cable car is certainly a welcome bonus for the community. | 0:39:09 | 0:39:13 | |
I asked Raul if he'd ever carried a gun. | 0:39:14 | 0:39:17 | |
I wasn't a member of the gangs proper. | 0:39:20 | 0:39:23 | |
In other words, I wasn't on their payroll, | 0:39:23 | 0:39:25 | |
but I had close friends with whom I hung out who were. | 0:39:25 | 0:39:29 | |
So, for instance, from time to time I would hold their guns for them. | 0:39:29 | 0:39:34 | |
Are there any people here who are frightened of the cable car? | 0:39:34 | 0:39:38 | |
You know, going inside it? | 0:39:38 | 0:39:41 | |
Kids and young people love it, | 0:39:41 | 0:39:43 | |
but older people are a little bit more reluctant. | 0:39:43 | 0:39:46 | |
My mum says she's afraid of it and will never set foot on it, | 0:39:46 | 0:39:50 | |
but I think eventually she'll warm to the idea. | 0:39:50 | 0:39:52 | |
Money's being spent here, and imaginatively too. | 0:39:54 | 0:39:57 | |
But in the shadow of Alemao, another big favela, Complexo Da Mare, | 0:39:57 | 0:40:02 | |
still awaits pacification. | 0:40:02 | 0:40:04 | |
It's dangerous to walk into unpacified favelas | 0:40:08 | 0:40:10 | |
unless you're with someone who knows the place. | 0:40:10 | 0:40:13 | |
Englishman Luke Downy has worked in Mare for years, | 0:40:13 | 0:40:17 | |
pioneering his own special recipe for dealing with the effects | 0:40:17 | 0:40:20 | |
of drugs, poverty and violence. | 0:40:20 | 0:40:22 | |
We still have very active drug gangs here. | 0:40:22 | 0:40:25 | |
We have sort of war-like death statistics in this community. | 0:40:25 | 0:40:28 | |
We've recorded death statistics of up to 600 per 100,000 inhabitants. | 0:40:28 | 0:40:32 | |
Anything over 100 is considered to be a war situation. | 0:40:32 | 0:40:36 | |
It has got better in the last few years, | 0:40:36 | 0:40:38 | |
but it continues to be a major issue. | 0:40:38 | 0:40:41 | |
We have young people as young as 11 and 12 | 0:40:41 | 0:40:43 | |
openly armed on the streets here. | 0:40:43 | 0:40:45 | |
It does have a police battalion on the edge of it, behind us, | 0:40:45 | 0:40:48 | |
which I believe is Brazil's only favela | 0:40:48 | 0:40:51 | |
that has a police battalion right on its side. | 0:40:51 | 0:40:54 | |
The presence of the police battalion | 0:40:54 | 0:40:56 | |
means that it's an intensive area in terms of gunfire. | 0:40:56 | 0:41:01 | |
Has it encouraged the violence, in a way, | 0:41:01 | 0:41:03 | |
the presence of the police here, | 0:41:03 | 0:41:05 | |
or changed the way it manifests itself? | 0:41:05 | 0:41:08 | |
I think it might change the way it manifests itself | 0:41:08 | 0:41:10 | |
rather than encourages it. But I think... | 0:41:10 | 0:41:12 | |
FIREWORKS BANG | 0:41:12 | 0:41:13 | |
So those are fireworks, which means that the police are moving around | 0:41:13 | 0:41:16 | |
and they've been seen by the drug traffickers | 0:41:16 | 0:41:18 | |
and they're letting off fireworks to say, | 0:41:18 | 0:41:20 | |
"We've seen that you're around in the favela here." | 0:41:20 | 0:41:23 | |
So it's an ongoing situation here. | 0:41:23 | 0:41:24 | |
Luke's project in Mare is a boxing club. | 0:41:28 | 0:41:31 | |
He's called it Luta Pela Paz, Fight For Peace. | 0:41:31 | 0:41:35 | |
I boxed when I was younger. I was an amateur boxer. | 0:41:35 | 0:41:38 | |
I certainly wasn't the world champion, | 0:41:38 | 0:41:40 | |
but it meant a lot to me and it was... | 0:41:40 | 0:41:41 | |
You were a light mid-weight champion. | 0:41:41 | 0:41:43 | |
Well, I moved around a bit, only amateur. | 0:41:43 | 0:41:47 | |
Then after a while I had to stop boxing because of an injury | 0:41:47 | 0:41:51 | |
and I found myself back in Brazil. I'd been here before | 0:41:51 | 0:41:53 | |
and I became very concerned with the kids that were openly armed | 0:41:53 | 0:41:56 | |
in the favelas. I was working for | 0:41:56 | 0:41:57 | |
a Brazilian development organisation, | 0:41:57 | 0:41:59 | |
and I saw these kids with guns, and I was kinda like... I didn't get it, | 0:41:59 | 0:42:02 | |
you know, having grown up in quite an affluent part of West London, | 0:42:02 | 0:42:05 | |
I didn't understand how you could have a 12- or 13-year-old | 0:42:05 | 0:42:07 | |
holding a Kalashnikov. | 0:42:07 | 0:42:08 | |
These kids were not going into schools. | 0:42:09 | 0:42:12 | |
For whatever reason they weren't going into social programmes, | 0:42:12 | 0:42:14 | |
so I thought a boxing club would be a great way because I knew | 0:42:14 | 0:42:17 | |
boxing clubs are inherently social programmes. | 0:42:17 | 0:42:19 | |
You'll end up having an amazing relationship | 0:42:19 | 0:42:21 | |
between your coach and the fighter, | 0:42:21 | 0:42:23 | |
and that's quite a special thing when you're growing up, | 0:42:23 | 0:42:25 | |
and it can be life-changing. | 0:42:25 | 0:42:27 | |
They were kind of almost traditional things in London, | 0:42:27 | 0:42:29 | |
weren't they, in the East End of London, you know, boxing clubs, | 0:42:29 | 0:42:32 | |
because it was about using the fighting instincts | 0:42:32 | 0:42:34 | |
but also discipline at the same time? | 0:42:34 | 0:42:37 | |
Very much discipline. You channel your aggression, | 0:42:37 | 0:42:40 | |
you get disciplined, you learn that if you don't put something in | 0:42:40 | 0:42:42 | |
you're not going to get something out. | 0:42:42 | 0:42:44 | |
You learn that hard work will pay | 0:42:44 | 0:42:45 | |
dividends and pay results, and those are all lessons for life. | 0:42:45 | 0:42:48 | |
The success of Fight For Peace - | 0:43:15 | 0:43:17 | |
one of their boys is in the Olympic team - | 0:43:17 | 0:43:19 | |
has attracted international sponsors. This has enabled them | 0:43:19 | 0:43:23 | |
to offer not just boxing and martial arts, | 0:43:23 | 0:43:26 | |
but also a commitment to education. | 0:43:26 | 0:43:28 | |
Luke's colleague Gabriella shows me the new creche | 0:43:28 | 0:43:32 | |
and classrooms attached to the gym. | 0:43:32 | 0:43:34 | |
This happens because we provide formal education for young people | 0:43:36 | 0:43:41 | |
from 16 to 29 years old, and we found out that if we didn't | 0:43:41 | 0:43:46 | |
have someone to watch the kids, they wouldn't be inside the class. | 0:43:46 | 0:43:49 | |
-Ah, they wouldn't go to school. -Yeah. OK. | 0:43:49 | 0:43:52 | |
-So... -So the mothers are really pretty young? -Yes. | 0:43:52 | 0:43:55 | |
They have been out of school, without work, | 0:43:57 | 0:44:00 | |
so what we do here is provide them with what they need. | 0:44:00 | 0:44:04 | |
Yeah, great. Hi! | 0:44:04 | 0:44:05 | |
STUDENTS: Hi. | 0:44:05 | 0:44:07 | |
Good, carry on. Teach me something. I need to learn. | 0:44:07 | 0:44:10 | |
We started with 75 people. Today we have 275. | 0:44:10 | 0:44:16 | |
-Students? -Students studying here. | 0:44:16 | 0:44:18 | |
Yeah, what are they doing today? | 0:44:18 | 0:44:20 | |
STUDENT: Physics. | 0:44:21 | 0:44:23 | |
-Physics. -Physics? -Yeah. -That's difficult. | 0:44:23 | 0:44:25 | |
-Yeah, that was not my favourite. -It was not my favourite either, yeah. | 0:44:25 | 0:44:28 | |
A world away from the ramshackle streets of Mare is the cool, | 0:44:37 | 0:44:41 | |
clean, cavernous Rio Metro. | 0:44:41 | 0:44:44 | |
With only 25 stations as opposed to London's 270, | 0:44:44 | 0:44:48 | |
it's being rapidly extended ahead of the 2016 Olympics. | 0:44:48 | 0:44:52 | |
But compared to London, there's still a luxurious feeling of space. | 0:44:52 | 0:44:57 | |
The system, blasted out of granite, | 0:45:05 | 0:45:07 | |
has been built within a series of enormous chambers. | 0:45:07 | 0:45:10 | |
Walking through them is like being in the belly of some great beast. | 0:45:10 | 0:45:15 | |
With the double whammy of the World Cup and Olympics ahead, | 0:45:18 | 0:45:21 | |
running Rio has to be a considerable challenge. | 0:45:21 | 0:45:24 | |
I meet the city mayor, Eduardo Paes, | 0:45:24 | 0:45:27 | |
at a new high-tech control and command centre. | 0:45:27 | 0:45:30 | |
He's just come a bit of a cropper opening a new cycle lane. | 0:45:30 | 0:45:34 | |
You're the mayor, you've got to run Rio. What do you identify | 0:45:35 | 0:45:39 | |
as the kind of the problems that are facing the city? | 0:45:39 | 0:45:42 | |
What are you trying to sort of change? | 0:45:42 | 0:45:46 | |
When you come to a country like Brazil, | 0:45:46 | 0:45:49 | |
when you come to a city like Rio, second-largest in the country, | 0:45:49 | 0:45:54 | |
there is always the issue of social differences. | 0:45:54 | 0:45:58 | |
The social differences brings a lot of problems | 0:45:58 | 0:46:01 | |
in the infrastructure, in health and education, | 0:46:01 | 0:46:04 | |
so I would say that's the main issue that we have to face every day. | 0:46:04 | 0:46:09 | |
But, you know, I think Brazil has done its homework | 0:46:09 | 0:46:12 | |
in the past 20 years. Democracy's consolidated, | 0:46:12 | 0:46:15 | |
institutions are consolidated, I mean, we suffer a lot, but we learn. | 0:46:15 | 0:46:19 | |
Our bank system's much stronger than if you go to European countries | 0:46:19 | 0:46:23 | |
or the United States' system, so we are very proud | 0:46:23 | 0:46:26 | |
of what we've achieved, what we've been doing in the past few years. | 0:46:26 | 0:46:29 | |
We know that it's a long way to go. | 0:46:29 | 0:46:31 | |
I mean, when you talk about a country of 200 million people, | 0:46:31 | 0:46:34 | |
you're saying that 30 million people, | 0:46:34 | 0:46:36 | |
you know, you took from poverty and they became middle class, | 0:46:36 | 0:46:40 | |
I mean, that's something to be proud of. | 0:46:40 | 0:46:41 | |
Sunshine and Rio seem so inextricably linked | 0:46:54 | 0:46:57 | |
in my fantasy world that a series of Atlantic depressions | 0:46:57 | 0:47:01 | |
dumping wind and rain on the city seem almost like a biblical plague. | 0:47:01 | 0:47:06 | |
To try and learn about how bad weather affects the Cariocan psyche, | 0:47:11 | 0:47:15 | |
I've arranged to meet an American who's written a very funny book | 0:47:15 | 0:47:18 | |
called How To Be A Carioca. | 0:47:18 | 0:47:21 | |
She's called Priscilla Ann Goslin, | 0:47:21 | 0:47:23 | |
and she's made Rio her home for more than 30 years. | 0:47:23 | 0:47:26 | |
And today, it's raining, wet everywhere, dripping. | 0:47:27 | 0:47:32 | |
What do Cariocans do when it rains? | 0:47:32 | 0:47:34 | |
What do Cariocas do in the rain? | 0:47:35 | 0:47:37 | |
They usually don't do much of anything, they get, you know, | 0:47:37 | 0:47:40 | |
they will evaporate from the street pretty much. | 0:47:40 | 0:47:43 | |
If you have plans to do something, you usually cancel them if you can. | 0:47:43 | 0:47:46 | |
Do they get depressed? | 0:47:47 | 0:47:48 | |
No, they don't get...no! No! | 0:47:48 | 0:47:52 | |
-Cariocas never get depressed! -Is that so? | 0:47:52 | 0:47:55 | |
Yes, it's going to be so much better when the rain stops | 0:47:55 | 0:47:58 | |
-and they go back to the beach. -Yeah. | 0:47:58 | 0:47:59 | |
They seem to be very keen here just on good things, | 0:47:59 | 0:48:03 | |
so you've been right, as you say, they all see life as basically | 0:48:03 | 0:48:06 | |
happiness, but how do they deal with the obvious things | 0:48:06 | 0:48:09 | |
that aren't right, like, you know, poverty and all that? | 0:48:09 | 0:48:12 | |
Oh, I think pretty much just ignore... They try to ignore it. | 0:48:13 | 0:48:17 | |
I don't even know if they try to ignore it on a conscious level, | 0:48:17 | 0:48:20 | |
they just don't see it, they don't focus on it. | 0:48:20 | 0:48:23 | |
It's there, it's not good, therefore I won't focus, | 0:48:23 | 0:48:26 | |
and they'll change the subject. | 0:48:26 | 0:48:27 | |
-They'll talk about soccer, the game. -Yep. | 0:48:27 | 0:48:30 | |
It's remarkable how rare you see an angry face, | 0:48:30 | 0:48:32 | |
you know, there isn't this sort of bottled-up stress which you might | 0:48:32 | 0:48:35 | |
get in certain cities when the trains are running late. | 0:48:35 | 0:48:38 | |
Is that something you'd see? | 0:48:40 | 0:48:41 | |
No, you don't see it, if you go on the metro here, the subway system, | 0:48:41 | 0:48:44 | |
you don't see people that are stressed and unhappy. | 0:48:44 | 0:48:48 | |
But Cariocans aren't always as open as they appear to be. | 0:48:57 | 0:49:01 | |
It looks like a sort of Rio stately home or something, | 0:49:05 | 0:49:07 | |
but actually just something more than that. | 0:49:07 | 0:49:10 | |
Hello, por favor. | 0:49:13 | 0:49:16 | |
It's a love hotel. They're very popular in Brazil. | 0:49:16 | 0:49:19 | |
In fact, I saw one down the street called the Windsor Love Hotel. | 0:49:19 | 0:49:22 | |
And you come here with a friend or friends, for sex, | 0:49:22 | 0:49:28 | |
and I'm going to find out...what happens. | 0:49:28 | 0:49:32 | |
-Are you Hannah? -Hello. -Michael. -Nice to meet you. | 0:49:49 | 0:49:54 | |
How nice of you to welcome me to your presidential suite. | 0:49:54 | 0:49:58 | |
Yes. I'm pleased to meet you. | 0:49:58 | 0:50:01 | |
Oh, we don't normally afford places like this, you know, | 0:50:01 | 0:50:03 | |
not on BBC money! | 0:50:03 | 0:50:04 | |
THEY LAUGH | 0:50:04 | 0:50:06 | |
-You like what you see? -Yes. | 0:50:06 | 0:50:09 | |
-Jacuzzi, pool. -Sauna. | 0:50:09 | 0:50:13 | |
-Saunas. -Two of them. | 0:50:13 | 0:50:16 | |
I should just say at the outset | 0:50:16 | 0:50:18 | |
that this is a wholly professional liaison. | 0:50:18 | 0:50:21 | |
-Oh, yeah. -We're both in the television business. | 0:50:21 | 0:50:25 | |
-Yes. Yes. -You have a show? | 0:50:25 | 0:50:27 | |
I have a show here for almost three years, yes. | 0:50:27 | 0:50:30 | |
-Talking about sex. -Yeah... | 0:50:30 | 0:50:32 | |
Talking very...it's a very open show, me and my three girls, | 0:50:32 | 0:50:37 | |
-and we talk a lot. -About anything to do with sex? | 0:50:37 | 0:50:42 | |
About anything. We have a theme, every day we have a different theme. | 0:50:42 | 0:50:46 | |
I'm an English innocent, I want to know what... | 0:50:46 | 0:50:48 | |
You're an English innocent? | 0:50:48 | 0:50:51 | |
Why do people come to the love hotel? | 0:50:51 | 0:50:53 | |
People come here to have sex, to have a good time together. | 0:50:53 | 0:50:58 | |
-Have you ever been taken to a love hotel? -Yeah, yeah. | 0:50:58 | 0:51:01 | |
Even with boyfriends, many, you don't want to stay home, | 0:51:01 | 0:51:05 | |
you want to go to a different place to have a pool | 0:51:05 | 0:51:09 | |
or something different to do, you know. | 0:51:09 | 0:51:12 | |
When I came in I noticed that all these doors were very, | 0:51:12 | 0:51:17 | |
very sort of hidden, and the doors in front of the car ports | 0:51:17 | 0:51:23 | |
come down to obscure the car and the number and all that. | 0:51:23 | 0:51:27 | |
So is secrecy a very important part of a place like this? | 0:51:27 | 0:51:32 | |
Yeah, yeah. Always, because... | 0:51:32 | 0:51:35 | |
I mean, that's the appeal, you come... | 0:51:35 | 0:51:37 | |
Married, maybe some married guy comes here with a girl, | 0:51:37 | 0:51:41 | |
maybe it's not his wife. | 0:51:41 | 0:51:43 | |
And then if his wife comes with a guy, | 0:51:43 | 0:51:45 | |
if she passes, she doesn't see his car. | 0:51:45 | 0:51:49 | |
-I see that, yes. "He bought that for me last week!" -Yeah. | 0:51:50 | 0:51:54 | |
In contrast to the furtive world of the love hotel is the city's | 0:51:56 | 0:52:00 | |
very open attitude to the rights of sexual minorities. | 0:52:00 | 0:52:04 | |
Marjorie runs an office in the state government dedicated to | 0:52:04 | 0:52:08 | |
defending Rio's transvestites and transsexuals. | 0:52:08 | 0:52:11 | |
Marjorie was born a man, but lives as a woman. | 0:52:12 | 0:52:16 | |
In her office, she explains how she sees herself. | 0:52:16 | 0:52:20 | |
Marjorie, to get it clear, | 0:52:22 | 0:52:24 | |
what's the difference between a transvestite and transsexual? | 0:52:24 | 0:52:29 | |
A travesti sounds bad, but I know what you mean. | 0:53:17 | 0:53:19 | |
Travesti, in England... Travesty means something wrong, | 0:53:19 | 0:53:22 | |
but transvestite, you're travesti. | 0:53:22 | 0:53:25 | |
Before I leave the marvellous city, | 0:53:36 | 0:53:39 | |
I've been invited to a little gathering on Copacabana Beach. | 0:53:39 | 0:53:42 | |
It's the annual Gay Pride parade, and Marjorie has asked me | 0:53:52 | 0:53:56 | |
to join her and her friends | 0:53:56 | 0:53:58 | |
on the transvestites' and transsexuals' bus. | 0:53:58 | 0:54:01 | |
Here, she tells me how things have changed | 0:54:02 | 0:54:05 | |
in little more than 20 years. | 0:54:05 | 0:54:07 | |
So, Marjorie, how many people have turned out for the parade today? | 0:54:07 | 0:54:13 | |
MARJORIE SPEAKS PORTUGUESE | 0:54:13 | 0:54:15 | |
-Two... -Two million. -Two million people? | 0:54:15 | 0:54:17 | |
Wow! | 0:54:19 | 0:54:20 | |
When did this kind of, you know... You've been | 0:54:21 | 0:54:24 | |
really at the beginning of these things, when did they start? | 0:54:24 | 0:54:27 | |
How long ago was the first march? | 0:54:27 | 0:54:29 | |
-Right. -20 years ago. | 0:54:32 | 0:54:33 | |
So people were throwing things at the procession? | 0:54:56 | 0:54:59 | |
I've been told the parade's theme is peace, and I'm to wear all white, | 0:55:10 | 0:55:14 | |
which is why I end up looking like a kidnapped deckchair attendant. | 0:55:14 | 0:55:18 | |
It's a great feeling to be part | 0:55:35 | 0:55:36 | |
of Brazil's new spirit of sexual liberation, | 0:55:36 | 0:55:39 | |
but I have to say, as a 68-year-old British heterosexual | 0:55:39 | 0:55:43 | |
in khaki shorts, I feel, to quote an Eric Idle line - | 0:55:43 | 0:55:46 | |
"Like a lost lamb in an abattoir." | 0:55:46 | 0:55:49 | |
If travel is about looking and learning, | 0:55:55 | 0:55:58 | |
Brazil is not a bad place to start. | 0:55:58 | 0:56:01 | |
There's an impressive tolerance at work here. | 0:56:01 | 0:56:03 | |
Next time, I'll be meeting a lot of people | 0:56:07 | 0:56:09 | |
I feel I've met before in an epic landscape both natural and man-made. | 0:56:09 | 0:56:14 | |
I'll be in Brazil's deep south, where European and Asian immigrants | 0:56:14 | 0:56:19 | |
have created a very different culture | 0:56:19 | 0:56:21 | |
from the rest of the country. | 0:56:21 | 0:56:23 |