Whenever the film wanders away from Gabriela, it seems to dawdle aimlessly before finding her again.

There is no real chemistry between the bar owner and his wonderful lover, [so] even the most dedicated filmgoer is eventually reduced to waiting for what we used to call the good parts.

Number one item on the agenda, however, is the camera's on-going perusal of the Braga bod. Mastroianni as Gabriela's main man lends an air of consequence to the proceedings.

The exploration of the senses that was portrayed joyously in [Jorge] Amado's novel comes to seem exploitative in Bruno Barreto's movie.