Tenório Cavalcanti was born in Alagoas and finds his path in Baixada Fluminense, where he rises to notoriety as a gunfighter connected to an extermination group. His life is shaped by violence from the start: a murdered father, body marks from gunshots, and a machine gun that travels with him as a constant companion. With his hat perched on his head and the famous black cape concealing the fearsome "Lurdinha" machine gun, he becomes a figure who commands attention and fear in equal measure.
As a man of the people, he forges one of the era’s most durable political careers in the 1940s and 1950s. His supporters are predominantly humble, impoverished communities who view him as both defender and vigilante. To many, his rallies feel like a necessary, if controversial, exchange: protection and blunt justice in exchange for loyalty. Those who belong to the middle class and the political elite, however, see him as a ruthless force who acts outside the traditional bounds of law and decorum.
He channels his influence into a bold anti-corruption stance, challenging the powerful networks that molded the municipality of Duque de Caxias in the state of Rio de Janeiro. His public persona blends populism with a drift toward intimidation, and his reputation grows as much from his rhetorical blows as from the rumors that surround the methods he uses to keep control.
In 1954, he founds the newspaper Luta Democrática, cementing his voice in the public arena. That year he achieves the highest number of votes for Federal Deputy in the state, a feat he repeats when re-elected in 1958. He continues his political ambitions by aiming for higher offices: in 1960 he runs for governor of Guanabara but is defeated by Carlos Lacerda, and in 1962 he makes another bid for the governorship of the state of Rio de Janeiro, this time losing to Badger da Silveira. Throughout these campaigns, his stance remains staunchly anti-communist, even as he holds the federal deputy mandate and wields considerable popular power.
As the political climate shifts and the country moves toward military intervention, [Tenório Cavalcanti] remains aligned with the broad popular forces that supported Jango, navigating a volatile landscape that ultimately leads to his impeachment by the military government in June 1964. The film presents a portrait of a complex, controversial leader who embodies both the struggle of the poor against entrenched power and the brutal mechanisms some use to achieve political ends.
Ultimately, the narrative portrays a man who is as much a product of his time as a catalyst within it: a populist figure whose courage and charisma drew crowds and sympathy, yet whose methods, violence, and ruthless pragmatism left a lasting question about the line between protection of the people and coercion. The result is a dense, unflinching look at a chapter of Brazilian history where political ascent and street-level intimidation intersect, leaving viewers to weigh the costs of leadership built on fear and loyalty.
