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SLUM LORDHow an English Gentleman Reclaimed a Favela From the Police and ThievesINTERVIEW BY MAX BARTRAM PHOTOS BY GIUSEPPE BIZZARRI![]() Thirty years ago, an English film producer called Bob Nadkarni decided he’d had enough of London so he packed his suitcases and headed to South America. Eventually, he settled in Tavares Bastos, one of Rio de Janeiro’s drug-lorded favelas. Not only did he decide to make an impoverished, shack-filled slope his home, he also managed to almost single-handedly clean the place up, chase out the machine-gun-toting dealers and build an art gallery to live in that gradually became a hotel. Bob’s building became known as The Maze and now contains bars, swimming pools, monthly music nights and a guest list that includes Snoop, Tim Roth, Edward Norton and, erm, Gary Lineker. Due to the relatively low chances of getting randomly gunned down in an argument over the price of a wrap, Bob’s favela has also become the primary location for just about every film that needs a shanty setting to have come out of Brazil in the last decade. Vice: What made you leave London for a new life in South America? Bob Nadkarni: I had a reasonably successful film career in England, but my marriage to a girl from art school who became a model didn’t stand a chance because we barely even managed to cross paths at the airport. The break-up hit me pretty hard and I ended up in Southampton, forgot one of my cases on the dockside and got on the first ship going anywhere, which, as it happened, was Guayaquil in Ecuador. That sounds pretty exotic but how did you end up in Rio? Engine trouble coming down the coast of Brazil forced the boat to pull in for an eight-day repair in the port of Salvador. I took a taxi at the foot of the gangplank for a look around and almost immediately got surrounded by seemingly crazed transvestites, one of whom opened the right door and drenched me with a bucket of water, followed by the left door through which a petite and topless girl was projected. Skipping a few sordid details, the ship sailed away with my other case and I, in my one pair of jeans and a t-shirt, discovered that Brazil was cheaper, more efficient and more fun than psychotherapy. So you stayed? After two months I bussed down to Rio where I stayed out the year until I was visited by the military regime and escorted straight to a ship bound for Southampton. I picked up my life in commercials in England working with directors like Adrian Lyne, but despite being on an extradition list I was determined to get back to Rio. I decided to train myself as a newsman as it was the only job that scared the hell out of the Brazilian military. As I spoke Portuguese, I got a job for NBC covering the 1974 Portuguese revolution and then covered Beirut until 1978. I returned to Rio at the beginning of 1979 as a UPITN [United Press International Television News] correspondent and spent three years crucifying the Junta. Which was fun. What was it that possessed you to want to live in a favela? At the beginning of 1981 I went with my maid, Creuza, to her favela home and the view from her window staggered me. I had always considered my job as temporary, planning a return to painting by the age of 50. So I built my studio up here amongst 500 people huddling in precarious shacks. An old, white English guy who is into painting doesn’t really sound like your average favela tenant. Naturally there’s always someone trying to rip you off. In my case a guy called Antonio Hilario tried to sell me a house which turned out to belong to a couple spending a few months back in the North-East. I smelled a rat and steered clear of him, but I subsequently discovered that he was a killer when his rage turned on me. Antonio caused me enormous headaches and stole constantly from me, almost daring me to confront him. In the end I didn’t have to. People like Antonio go around making enemies everywhere and one day he picked on someone who shot him dead. See all articles by this contributor
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