tag:blogger.com,1999:blog-57199058670009983972024-03-01T22:07:34.836-03:00Crítica RetrôClassic film with a tropical twistLêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.comBlogger705125tag:blogger.com,1999:blog-5719905867000998397.post-12634633173933108232024-02-23T21:29:00.001-03:002024-02-23T21:30:06.785-03:00Zardoz (1974)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Eu
ouvi falar pela primeira vez sobre o filme “Zardoz” (2974), estrelando Sean
Connery, quando foi exibido numa sessão da meia-noite no Festival de Cinema do
TCM em 2017. Estas sessões da meia-noite são eventos divertidos que exibem
aqueles filmes que de tão ruins, chegam a ser bons. Na ocasião, uma das cinéfilas
presentes até trouxe biscoitos de Zardoz para a plateia. Eu não tinha biscoitos
para comer quando assisti a Zardoz, mas certamente tive uma experiência
interessante.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">I first
heard about the movie “Zardoz” (1974), starring Sean Connery, when it was shown
in a midnight screening at the TCM Film Festival in 2017. These midnight
screening are fun-filled events showcasing so-bad-it’s-good movies. At the
occasion, a film fan even brought Zardoz cookies for the audience. I had no
cookies when watching “Zardoz”, but I certainly had an interesting experience.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://i.pinimg.com/736x/81/7d/7b/817d7b62e1889628fe31ed8b2ebc4a26.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="353" data-original-width="736" height="192" src="https://i.pinimg.com/736x/81/7d/7b/817d7b62e1889628fe31ed8b2ebc4a26.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Um ser imortal. </span><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Um Deus falso por ocupação e um ilusionista por inclinação. Este é
Arthur Frayn (Niall Buggy), que vive em uma imensa cabeça flutuante – Zardoz –
que dá ordens a soldados parcialmente vestidos e depois vomita armas. Arthur é
assassinado pelo exterminador Zed (Sean Connery), que então vai para o Vortex,
um local mítico onde todos podem controlá-lo com um único olhar. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">An
immortal being. A fake God by occupation and a magician by inclination. This is
Arthur Frayn (Niall Buggy), living in a huge floating head – Zardoz – that
gives orders to barely-dressed soldiers and then vomits guns. Arthur is killed
by the exterminator Zed (Sean Connery), who then goes to the Vortex, a mythical
place where everybody can control him with only one look.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://images.mubicdn.net/images/film/24801/cache-16584-1677787291/image-w1280.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://images.mubicdn.net/images/film/24801/cache-16584-1677787291/image-w1280.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">No
Vortex, onde as pessoas comem pão verde, Zed permanece para ser estudado por
May (Sara Kestelman), que está pesquisando sobre sexualidade humana. Ele fica
lá apesar dos protestos de Consuella (Charlotte Rampling), que sabe que “o
monstro”, que é como se referem a Zed, causará muitos desentendimentos. A May
são dados sete dias para concluir sua pesquisa, e depois disso Zeb será
sacrificado. Mas ele tem uma missão muito maior a cumprir. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">At the
Vortex, where they eat green bread, Zed stays to be studied by May (Sara
Kestelman), who is researching about human sexuality. He stays despite
Consuella’s (Charlotte Rampling) protests, as she knows that “the monster”, as
they call Zed, will cause a lot of disagreements. May is given seven days to
conclude her research, and after that Zed will be sacrificed. But he has a much
bigger mission to accomplish.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://media.fstatic.com/bofs8NPI_wvpFo8CRjk8zSo8GHI=/322x478/smart/filters:format(webp)/media/movies/covers/2017/02/21e84306317611fab2cdd45615805721.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="322" height="400" src="https://media.fstatic.com/bofs8NPI_wvpFo8CRjk8zSo8GHI=/322x478/smart/filters:format(webp)/media/movies/covers/2017/02/21e84306317611fab2cdd45615805721.jpg" width="269" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Há
infelicidade no Vortex porque não existe a morte. Envelhecer é uma punição e as
pessoas ou ficam apáticas ou vivem como boêmios sofredores. Zed pode ser o
salvador deles, fazendo uma conexão bem óbvia entre Zardoz e O Mágico de Oz.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">There
is unhappiness in the Vortex because there is no death. Aging is a punishment
and the people either become apathetic or live as suffering bohemians. Zed may
be their savior, as he makes a quite obvious connection between Zardoz and The
Wizard of Oz.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://media.fstatic.com/76pSa_UhogHIdp5WmmTUck9KztU=/322x478/smart/filters:format(webp)/media/movies/covers/2009/10/5cf6516e305fa3240db9400bde56a8d8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="322" height="400" src="https://media.fstatic.com/76pSa_UhogHIdp5WmmTUck9KztU=/322x478/smart/filters:format(webp)/media/movies/covers/2009/10/5cf6516e305fa3240db9400bde56a8d8.jpg" width="269" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“Zardoz”
se passa no ano 2293. A ficção científica tem sido desde os anos 1950 uma área
perfeita para a imaginação fluir livremente, mesmo em filmes de baixo
orçamento. Na época, mais e mais pessoas se convenceram de que podiam fazer
filmes, sendo diretores, atores ou acumulando funções. A paixão pelo cinema fez
com que pessoas deixassem de ser meros espectadores e se tornassem cineastas –
veja, por exemplo, o inesquecível Ed Wood. “Zardoz” é um descendente direto do
cinema de Wood. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“Zardoz”
is set in the year 2293. Science fiction had been since the 1950s a perfect
area for the imagination to flow freely, even in B-movies. At that time, more
and more people believed they could make films, as directors, actors or
multi-hyphenates. The passion for film made people stop being only spectators
and converted them into filmmakers – see, for instance, the unforgettable Ed
Wood. “Zardoz” is a direct descendant of Wood’s cinema.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://cdn-images.threadless.com/threadless-media/artist_shops/shops/gimetzco/products/1457588/shirt-1590168676-c41796a08808a1508e15fd03f5e131ce.png?v=3&d=eyJvcHMiOiBbWyJ0cmltIiwgW2ZhbHNlLCBmYWxzZV0sIHt9XSwgWyJyZXNpemUiLCBbXSwgeyJ3aWR0aCI6IDk5Ni4wLCAiYWxsb3dfdXAiOiBmYWxzZSwgImhlaWdodCI6IDk5Ni4wfV0sIFsiY2FudmFzX2NlbnRlcmVkIiwgWzEyMDAsIDEyMDBdLCB7ImJhY2tncm91bmQiOiAiZmZmZmZmIn1dLCBbInJlc2l6ZSIsIFs4MDBdLCB7fV0sIFsiY2FudmFzX2NlbnRlcmVkIiwgWzgwMCwgODAwLCAiI2ZmZmZmZiJdLCB7fV0sIFsiZW5jb2RlIiwgWyJqcGciLCA4NV0sIHt9XV0sICJmb3JjZSI6IGZhbHNlLCAib25seV9tZXRhIjogZmFsc2V9" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://cdn-images.threadless.com/threadless-media/artist_shops/shops/gimetzco/products/1457588/shirt-1590168676-c41796a08808a1508e15fd03f5e131ce.png?v=3&d=eyJvcHMiOiBbWyJ0cmltIiwgW2ZhbHNlLCBmYWxzZV0sIHt9XSwgWyJyZXNpemUiLCBbXSwgeyJ3aWR0aCI6IDk5Ni4wLCAiYWxsb3dfdXAiOiBmYWxzZSwgImhlaWdodCI6IDk5Ni4wfV0sIFsiY2FudmFzX2NlbnRlcmVkIiwgWzEyMDAsIDEyMDBdLCB7ImJhY2tncm91bmQiOiAiZmZmZmZmIn1dLCBbInJlc2l6ZSIsIFs4MDBdLCB7fV0sIFsiY2FudmFzX2NlbnRlcmVkIiwgWzgwMCwgODAwLCAiI2ZmZmZmZiJdLCB7fV0sIFsiZW5jb2RlIiwgWyJqcGciLCA4NV0sIHt9XV0sICJmb3JjZSI6IGZhbHNlLCAib25seV9tZXRhIjogZmFsc2V9" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Mas
há uma coisa bacana que podemos encontrar mesmo nos piores filmes de ficção
científica: geringonças legais. Em “Zardoz” todo mundo do Vortex tem um anel
que fala, responde a perguntas e projeta hologramas. Descobrimos com uma
simples busca no Google que companhias da área de tecnologia já estão fazendo “smart
rings”, ou anéis digitais. Tais objetos servem para medir estatísticas de saúde,
como padrões de sono, ritmo cardíaco, nível de estresse e temperatura corporal.
<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">But one
nice thing we can find even in the worst sci-fi movies are the cool gadgets. In
“Zardoz” everybody in the Vortex has a ring that talks, answers questions and
projects holograms. We learn from one simple Google search that tech companies
are already making “smart rings”. Such gadgets serve to measure health
statistics, such as sleep pattern, cardiac rhythm, stress level and body
temperature.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/9c4987cfb14a1bf30a0e05bd052d91a9/9a8e0bc947af7021-4d/s2048x3072/915957f07cb33e76849b8284da7c13644e25a61e.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="341" data-original-width="800" height="170" src="https://64.media.tumblr.com/9c4987cfb14a1bf30a0e05bd052d91a9/9a8e0bc947af7021-4d/s2048x3072/915957f07cb33e76849b8284da7c13644e25a61e.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Sean
Connery teve dificuldades para encontrar bons papéis depois de anos
interpretando James Bond. Aqui, ele está ou usando o uniforme ridículo dos
exterminadores ou disfarçado de noiva! Sua sorte só iria mudar em meados dos
anos 80, com <b><a href="https://criticaretro.blogspot.com/2024/01/o-nome-da-rosa-1986-name-of-rose-1986.html " target="_blank">“O Nome da Rosa”</a></b> – pelo qual ele ganhou um Bafta – e “Os
Intocáveis” – que lhe rendeu um Oscar. A outra protagonista de “Zardoz”,
Charlotte Rampling, não estava tentando se aventurar em papéis diferentes, mas
fez o filme porque se tratava de “poesia. Ele claramente declara: ame seu
corpo, ame a natureza, e ame sua origem”.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Sean
Connery had difficulty finding good roles after his James Bond years. Here, he
is either wearing the ridiculous exterminator uniform or is disguised as a
bride! His luck would only change in the mid-80s, with <b><a href="https://criticaretro.blogspot.com/2024/01/o-nome-da-rosa-1986-name-of-rose-1986.html " target="_blank">“The Name of the Rose”</a></b> –
for which he won a Bafta – and “The Untouchables” – that gave him an Oscar. The
other “Zardoz” lead, Charlotte Rampling, was not trying to venture into
different roles, but did the film because it was “poetry. It clearly states:
love your body, love nature, and love what you come from”.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BMTU3MDgyMDYwNV5BMl5BanBnXkFtZTgwNzUzNTU3MTE@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="629" height="400" src="https://m.media-amazon.com/images/M/MV5BMTU3MDgyMDYwNV5BMl5BanBnXkFtZTgwNzUzNTU3MTE@._V1_.jpg" width="315" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O
filme foi escrito, produzido e dirigido por John Boorman. Ele fez grande
sucesso em 1972 com “Amargo Pesadelo” e depois tentou filmar uma adaptação da
saga de O Senhor dos Anéis, e foi durante a preparação para este filme
cancelado que ele começou a escrever “Zardoz”. Ultraconfiante, Boorman definiu
sua criação como “mais perto da melhor literatura de ficção científica que é
mais metafísica. A maioria da ficção científica que dá um mau nome ao gênero é
de histórias de aventuras em trajes especiais”. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The
movie was written, produced and directed by John Boorman. He had a big hit in
1972 with “Deliverance” and then had tried to film an adaptation of the Lord of
the Rings saga, and it was during the preparation for his aborted movie that he
started writing “Zardoz”. Über-confident, Boorman defined his creation as “closer
to the better science fiction literature which is more metaphysical. Most of
the science fiction that gives the genre a bad name is adventure stories in
space clothes”.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/5/5d/John_Boorman_(1974).jpg/220px-John_Boorman_(1974).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="293" data-original-width="220" height="400" src="https://upload.wikimedia.org/wikipedia/commons/thumb/5/5d/John_Boorman_(1974).jpg/220px-John_Boorman_(1974).jpg" width="300" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Faz
muito sentido quando descobrimos que John Boorman confessou ter usado drogas
enquanto escrevia e dirigia várias cenas do filme. Também faz sentido que o
figurino hediondo tenha sido desenhado pela esposa de Boorman, Christel Kruse,
e não um estilista profissional. Um filme com status de cult, mas ao qual eu
não quero assistir de novo: como eu o considerei longo demais e às vezes sem
sentido, estou feliz por finalmente riscar “Zardoz” da minha lista – com ou sem
biscoitos. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">It makes
a lot of sense when we learn that John Boorman confessed he used drugs while
writing and directing several scenes in the movie. It also makes sense that the
infamous costumes were made by Boorman’s wife, Christel Kruse, not a
professional stylist. A film with a cult following, but one I don’t want to
watch again: as I felt it to be too long and sometimes pointless, I’m happy to
say I’ve experienced “Zardoz” – with or without cookies.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">This is
my contribution to the <b><a href="https://takinguproom.com/2024/02/23/the-sixth-so-bad-its-good-blogathon-has-arrived/" target="_blank">Sixth So Bad It’s Good Blogathon</a></b>, hosted by Rebecca at Taking Up
Room.</span><span style="color: #1d2228;"><o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://takinguproom.files.wordpress.com/2023/11/6thsobaditsgoodbanner4.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://takinguproom.files.wordpress.com/2023/11/6thsobaditsgoodbanner4.png" width="400" /></a></i></div><p></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com7tag:blogger.com,1999:blog-5719905867000998397.post-60984816610091664012024-02-16T18:18:00.001-03:002024-02-16T18:18:37.889-03:00Seja Minha Mulher (1921) / Be My Wife (1921)<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O
IMDb lista 234 créditos para Max Linder como ator, mas provavelmente há muito
mais. É difícil voltar no tempo e verificar seus primeiros papéis, como coadjuvante,
na Pathé de 1905 em diante. Três anos depois, Max já era uma superestrela, mas
quase uma década se passou antes da primeira vez de Max em Hollywood. Nessa primeira
empreitada, ele fez alguns curtas-metragens para o estúdio Essanay. Max Linder
voltaria para Hollywood para fazer três médias-metragens: <b><a href="https://criticaretro.blogspot.com/2021/10/sete-anos-de-azar-1921-seven-years-bad.html" target="_blank">Sete Anos de Azar (1921)</a></b>, <b><a href="https://criticaretro.blogspot.com/2023/03/o-mosqueteiro-1922-three-must-get.html" target="_blank">O Mosqueteiro (1922)</a></b> e este Seja Minha Mulher, também de 1921. Eu tomei
como missão escrever sobre todos estes três médias-metragens. Aqui está a
crítica que faltava.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: white; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">IMDb
lists 234 credits for Max Linder as an actor, but there are probably many more.
It’s difficult to trace back to his first roles, as a supporting player, at
Pathé starting in 1905. Three years later, Max was already a superstar, but
nearly a decade passed before he had his first stint in Hollywood. This first
time, he made some short films for Essanay. Max Linder would come back to
Hollywood to make three five-reelers: <b><a href="https://criticaretro.blogspot.com/2021/10/sete-anos-de-azar-1921-seven-years-bad.htmlhttps://criticaretro.blogspot.com/2021/10/sete-anos-de-azar-1921-seven-years-bad.html" target="_blank">Seven Years Bad Luck (1921)</a></b>, <b><a href="https://criticaretro.blogspot.com/2023/03/o-mosqueteiro-1922-three-must-get.html" target="_blank">The Three Must-Get-Theres (1922)</a></b> and this Be My Wife, also from 1921. As a huge Max
Linder fan, I had to review all of his American featurettes. Here’s the review
that was missing.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fm.media-amazon.com%2Fimages%2FM%2FMV5BYmEyZWJiZjEtYzY5OC00ZjY0LWI0ZmItMDMwOTVjYmNmM2RiXkEyXkFqcGdeQXVyNjA5MTAzODY%40._V1_FMjpg_UX840_.jpg&f=1&nofb=1&ipt=d54d187b199a9eef22f52c57d43f3201a1bd5f40b252f84b3efcfd43249c418f&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #cc0000;"><img border="0" data-original-height="800" data-original-width="566" height="400" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fm.media-amazon.com%2Fimages%2FM%2FMV5BYmEyZWJiZjEtYzY5OC00ZjY0LWI0ZmItMDMwOTVjYmNmM2RiXkEyXkFqcGdeQXVyNjA5MTAzODY%40._V1_FMjpg_UX840_.jpg&f=1&nofb=1&ipt=d54d187b199a9eef22f52c57d43f3201a1bd5f40b252f84b3efcfd43249c418f&ipo=images" width="283" /></span></a></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Max (Max Linder)
está apaixonado por Mary (Alta Allen) e quer se casar com ela, mas a tia dela, Agatha
(Caroline Rankin), não concorda com o casamento e preferiria que a sobrinha se
casasse com Archie (Lincoln Stedman). Max se disfarça de professor de canto
para se aproximar de Mary, mas só ganha a aprovação da família dela após
demonstrar sua bravura. Na segunda metade do filme, entra a Madame Coralie
(Rose Dione), costureira e vendedora de bebidas alcoólicas, e os personagens se
alvoroçam por uma possível traição.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><br />
</span></i><i><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">Max (Max Linder) is in love with Mary (Alta Allen)
and wants to marry her, but her Aunt Agatha (Caroline Rankin) doesn’t agree
with the marriage and would rather see her married to Archie (Lincoln Stedman).
Max disguises as a voice teacher to be near Mary, but only wins over her family
by showing his bravery. In the second half of the movie, enter Madame Coralie
(Rose Dione), dressmaker and booze seller, and shenanigans about cheating.</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fcenturyfilmproject.files.wordpress.com%2F2021%2F04%2Fbe-my-wife7.jpg%3Fw%3D1000&f=1&nofb=1&ipt=da510379514d7a936181e5a93c4030a9941bd7a2a07c33ecc5cb8408a04c7865&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="601" data-original-width="800" height="301" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fcenturyfilmproject.files.wordpress.com%2F2021%2F04%2Fbe-my-wife7.jpg%3Fw%3D1000&f=1&nofb=1&ipt=da510379514d7a936181e5a93c4030a9941bd7a2a07c33ecc5cb8408a04c7865&ipo=images" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Alta Allen também
esteve em “Sete Anos de Azar” como a protagonista feminina, enquanto Caroline
Rankin também aparece em “O Mosqueteiro” como a Rainha. Ambas têm aqui mais
tempo em cena para mostrar talento para a comédia. Alta Allen nasceu com o nome
de Alta Crowin em 1904 e atuou pela primeira vez no teatro aos dez anos de
idade. Ela só fez dez filmes entre 1921 e 1926 e se casou com o gerente de
produção e roteirista Hampton Del Ruth. Enquanto isso, Caroline Rankin nasceu
em 1880 e fez 54 filmes, aparecendo sem receber créditos a partir da introdução
do som no cinema.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"> <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">Alta
Allen was also in “Seven Years Bad Luck” as the leading lady, while Caroline
Rankin also appeared in “The Three Must-Get-Theres” as the Queen. Both women
have here more screen time to show their comedy skills. Alta Allen was born
Alta Crowin in 1904 and had her first role in theater at age ten. She only made
ten films from 1921 to 1926 and married production manager and writer Hampton
Del Ruth. Meanwhile, Caroline Rankin was born in 1880 and made 54 films, appearing
without receiving credit in talkies.</span><o:p></o:p></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="color: #cc0000;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fpics.filmaffinity.com%2Fbe_my_wife-560412802-large.jpg&f=1&nofb=1&ipt=a7be27ddffe7bc1327c27dd1c70617e4a7cf712c0e35327097b5515b1a3276cd&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="631" data-original-width="800" height="316" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fpics.filmaffinity.com%2Fbe_my_wife-560412802-large.jpg&f=1&nofb=1&ipt=a7be27ddffe7bc1327c27dd1c70617e4a7cf712c0e35327097b5515b1a3276cd&ipo=images" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Na
primeira metade do filme, outra estrela é o cachorro Pal. Ele fez 50 filmes
tendo começado aos quatro anos em 1921. Pal rapidamente se tornou um dos favoritos
do público tanto em curtas quanto em longas-metragens. Ele não deve ser
confundido com outro cachorro chamado Pal, um Collie que foi um dos primeiros cães
a interpretar Lassie.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><br />
</span></i><i><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">In the first half of the movie, another star is
the dog Pal. He appeared in 50 movies starting in 1921, aged four. Pal quickly
became an audience favorite in both shorts and features. He must not be
mistaken for another dog named Pal, a Collie that was one of the first dogs to
play Lassie.</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://moviessilently.files.wordpress.com/2019/10/f3916-be-my-wife.jpg?w=600&h=450" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #cc0000;"><img border="0" data-original-height="450" data-original-width="600" height="300" src="https://moviessilently.files.wordpress.com/2019/10/f3916-be-my-wife.jpg?w=600&h=450" width="400" /></span></a></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Escrito
e dirigido pelo astro Max Linder, “Seja Minha Mulher” foi também produzido por
Linder, e distribuído pela Goldwyn, que três anos depois sofreria uma fusão e
se transformaria na Metro-Goldwyn-Mayer. Samuel Goldwyn, nascido em Varsóvia,
Polônia, chegou aos EUA em 1899 para vender luvas. Em 1913, tendo sucesso em
sua profissão, ele foi um dos co-fundadores da Paramount Pictures, e no ano
seguinte a companhia lançou o primeiro curta-metragem rodado em Hollywood. Ele
fundou a Goldwyn Pictures em 1916, e a MGM herdou a maior marca registrada da
companhia: a presença do leão Leo no começo de cada filme.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><br />
</span></i><i><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">Written and directed by its star Max Linder, “Be
Me Wife” was also produced by Linder, and distributed by Goldwyn, who three
years later would merge and form Metro-Goldwyn-Mayer. Samuel Goldwyn, born in
Warsaw, Poland, arrived in the US in 1899 to sell gloves. In 1913, being
successful in his métier, he was one of the co-founders of Paramount Picture,
and the following year the company released the first feature-length film shot
in Hollywood. He formed Goldwyn Pictures in 1916, and MGM inherited the most
prominent thing from the company: Leo the Lion in the beginning of each film.</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.dvdtalk.com%2Freviews%2Fimages%2Freviews%2F290%2F1401796912_6.png&f=1&nofb=1&ipt=786fa14e6cd6d072ed1550b45261f9ebe4d6b162b616f189f57a3366abafb98c&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="400" height="300" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.dvdtalk.com%2Freviews%2Fimages%2Freviews%2F290%2F1401796912_6.png&f=1&nofb=1&ipt=786fa14e6cd6d072ed1550b45261f9ebe4d6b162b616f189f57a3366abafb98c&ipo=images" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Quando
este filme foi exibido na TV, foi acompanhado de um aviso dizendo que era um
produto do seu tempo, e agora o preconceito não tem mais lugar nos filmes. Isto
se refere a duas cenas: primeiro, há um caso de gordofobia durante um desfile
de modelos, mais tarde um Max bêbado flerta com uma empregada negra. Mary até
vai mais longe e diz que “vai encontrar um chinês ou um índio” para que ela também
traia o marido. Ambas as sequências foram, obviamente, concebidas com o humor
em mente, mas agora mostram como estereótipos não podem ser - e esperamos que
não sejam - reproduzidos no cinema.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><br />
</span></i><i><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">When this movie was shown on TV, it was
accompanied by a disclaimer saying that it was a product of its time, and now
prejudice doesn’t find a place in the movies anymore. This is about two scenes:
first, there is fat-shaming during a model show, later a drunk Max flirts with
a black maid. Mary even goes further saying that she was “going to find a
Chinaman or a Redskin” for herself to cheat too. Both sequences were, of
course, made for laughs, but now show stereotypes that can’t - and hopefully
won’t - be reproduced on film anymore.</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimages.mubicdn.net%2Fimages%2Ffilm%2F150479%2Fcache-127653-1458392275%2Fimage-w1280.jpg%3Fsize%3D800x&f=1&nofb=1&ipt=0cfbe37e296d218f812a7e1be3cde07ca485fa43bd17c8c2ff757864a6719739&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimages.mubicdn.net%2Fimages%2Ffilm%2F150479%2Fcache-127653-1458392275%2Fimage-w1280.jpg%3Fsize%3D800x&f=1&nofb=1&ipt=0cfbe37e296d218f812a7e1be3cde07ca485fa43bd17c8c2ff757864a6719739&ipo=images" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“Seja
Minha Mulher” foi o segundo filme a estrear na segunda tentativa de Max de
conquistar Hollywood. Eu o considero o menos engraçado do trio, mas ainda assim
adorável. Não tem a icônica sequência do espelho de <b><a href="https://criticaretro.blogspot.com/2021/10/sete-anos-de-azar-1921-seven-years-bad.html" target="_blank">“Sete Anos de Azar”</a></b> nem os
trocadilhos e subversões históricos de <b><a href="https://criticaretro.blogspot.com/2023/03/o-mosqueteiro-1922-three-must-get.html" target="_blank">“O Mosqueteiro”</a></b>, mas ainda conta com
boas performances e uma bela sequência coreografada na venda de bebidas
alcoólicas. E o mais importante: material suficiente para transformar qualquer
um num fã de Max Linder.</span></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><br /></span></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><i><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-size: 15pt; line-height: 115%;"><span style="color: #cc0000;">“Be My Wife” was the second film released in Max’s second attempt in
Hollywood. I found it to be the least funny of the trio, but still enjoyable.
It doesn’t have the iconic mirror sequence from <b><a href="https://criticaretro.blogspot.com/2021/10/sete-anos-de-azar-1921-seven-years-bad.html" target="_blank">“Seven Years Bad Luck”</a></b> nor the
historical puns and subversions from <b><a href="https://criticaretro.blogspot.com/2023/03/o-mosqueteiro-1922-three-must-get.html" target="_blank">“The Three Must-Get-Theres”</a></b>, but still has
good performances and a great choreographed sequence at the booze seller. And
the most important: just enough material to convert anyone into a Max Linder
fan. </span></span></i></span></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com1tag:blogger.com,1999:blog-5719905867000998397.post-11108781185251774412024-02-10T17:07:00.000-03:002024-02-10T17:07:31.286-03:00Uma Canta, a Outra Não (1977) / One Sings, the Other Doesn't (1977)<p> </p><p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Em novembro de 2023 a versão em
inglês do Dossiê Agnès Varda foi publicada. Em janeiro de 2024, depois de uma
treta com a Amazon, a versão em português do mesmo e-book foi disponibilizada.
Nós do Cine Suffragette organizamos o material mandado para nós por 11 mulheres
da crítica. Uma delas foi a Marianne do blog <b><a href="https://makeminefilmnoir.blogspot.com/2024/01/the-agnes-varda-files-ebook-is.html" target="_blank">Make Mine Film Noir</a></b>. Ela, mais
tarde, me indicou para um desafio: escrever sobre meu filme favorito da Varda.
Isso é realmente desafiador, pois considero meu filme favorito da Varda sempre
o último dela que vi – porque todos são muito bons! Dito isto, meu atual filme
favorito da Varda é “Uma Canta, a Outra Não” (1977). Aqui está a crítica
bilíngue do filme, que você encontrará, junto a outros ótimos textos, no e-book
que pode ser comprado <b><a href="https://www.amazon.com.br/Dossi%C3%AA-Agn%C3%A8s-Varda-Let%C3%ADcia-Magalh%C3%A3es-ebook/dp/B0CP4S4TS4/ref=sr_1_1?__mk_pt_BR=%C3%85M%C3%85%C5%BD%C3%95%C3%91&crid=1S0IFO8GMPCWL&keywords=dossi%C3%AA+agnes+varda&qid=1701377972&sprefix=dossi%C3%AA+agn%C3%A8s+varda+%2Caps%2C789&sr=8-1" target="_blank">AQUI</a></b>.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">In November of 2023 the
English version of The Agnès Varda Files was published. In January of 2024,
after a kerfuffle with Amazon, the Portuguese language version of the same
e-book was made available. We at Cine Suffragette organized the material sent
to us from 11 female writers. One of them was Marianne from the blog <a href="https://makeminefilmnoir.blogspot.com/2024/01/the-agnes-varda-files-ebook-is.html" target="_blank"><b>Make Mine Film Noir</b></a>. She later tagged me in a challenge: to write about my favorite Varda
film. This is truly challenging, as I consider my favorite Varda film always
the last one I watched – they all are so very good! That being said, my current
favorite Varda film is “One Sings, the Other Doesn’t” (1977). Here’s the
bilingual review of the film, something that you will find, alongside other great
texts, in the e-book that can be bought <b><a href="https://www.amazon.co.uk/dp/B0CSMY1KL8" target="_blank">HERE</a></b>. <o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://miro.medium.com/v2/resize:fit:720/format:webp/1*hciY3uWycjbd6OipxhC7PQ.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="400" src="https://miro.medium.com/v2/resize:fit:720/format:webp/1*hciY3uWycjbd6OipxhC7PQ.jpeg" width="300" /></a></i></div><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><br /></span></i><p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Diretora, atriz, roteirista,
produtora e letrista: estes são os muitos papéis que Agnès Varda teve no
cinema. Letrista pode vir como uma surpresa, mas desde “Lola” (1961) de Jacques
Demy, Varda escreveu as letras de músicas de filmes dela própria e de outras
pessoas. Ela escreveu as letras – “paroles” como diz o crédito – das canções em
seu mais icônico filme musical, “Uma Canta, a Outra Não” (1977), uma ode à
sororidade e à amizade entre mulheres.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Director, actress,
screenwriter, producer and lyricist: these are the many roles Agnès Varda had
in filmmaking. Lyricist may come as a surprise, but since Jacques Demy’s “Lola”
(1961), Varda wrote lyrics for music in her films and films of others. She
wrote the lyrics- “paroles” as the credits say - for the songs in her most
iconic musical film, “One Sings, the Other Doesn’t” (1977), an ode to sorority
and female friendship.</span></i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://i.ytimg.com/vi/acobrKWpPAY/sddefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="300" src="https://i.ytimg.com/vi/acobrKWpPAY/sddefault.jpg" width="400" /></a></i></span></div><p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Pauline (Valérie Mairesse) é
uma garota moderna. Quando seu pai diz que, para garotas sem estudo, o que
resta é “o casamento ou a prostituição”, ela retruca: dá na mesma. Pauline
volta a ter contato com uma antiga vizinha, Suzanne (Thérèse Liotard), que está
grávida de seu terceiro filho com seu amante, o fotógrafo Jérôme (Robert
Dadiès). Incapaz de ter outro filho, Suzanne faz um aborto, seguindo o conselho
de Pauline e pegando dinheiro emprestado com ela para ir até a Suíça – afinal,
é 1962 e o aborto só seria legalizado na França em 1975.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Pauline (Valérie
Mairesse) is a modern girl. When her father tells her that, for girls who don’t
have a degree, what is left is “marriage or prostitution”, she answers: “that’s
the same”. Pauline regains acquaintance with an old neighbor, Suzanne (Thérèse
Liotard), who is pregnant with her third child with her lover, the photographer
Jérôme (Robert Dadiès). Unable to have another kid, Suzanne has an abortion,
following Pauline’s advice and borrowing money from her to go to Switzerland -
after all, it’s 1962 and abortion would only be legalized in France in 1975.</span></i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTizJSSx5iSJ_hQWEtAoPp8gTEZslJdhXzb0A&usqp=CAU" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="299" height="225" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTizJSSx5iSJ_hQWEtAoPp8gTEZslJdhXzb0A&usqp=CAU" width="400" /></a></i></span></div><p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">E é em 1972, durante o
julgamento que iniciou a mudança, que Pauline e Suzanne se reencontram, dez
anos após a tragédia do suicídio de Jérôme que as afastou, com Suzanne tendo
ido morar novamente com os pais. Pauline, agora chamada de Pomme pelos amigos,
também fez um aborto antes da legalização: ela teve de ir até Amsterdã e lá
conheceu seu atual namorado, o iraniano Darius (Ali Rafie). Dali em diante, as
duas trocam cartões-postais falando sobre si mesmas, e Varda como narradora nos
informa que elas pensam uma na outra constantemente, em uma “inexplicável
amizade entre duas mulheres muito diferentes”.</span></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">And it is in 1972,
during the judgment that started the change, that Pauline and Suzanne meet
again, ten years after the tragedy of Jérôme’s suicide drew them apart, with
Suzanne having to go back to her parents’ house. Pauline, now called Pomme by
her friends, also had an abortion before the legalization: she had to go to
Amsterdam and there she met her current boyfriend, the Iranian Darius (Ali
Rafie). From them on, the two exchange postcards talking about themselves, and
Varda as the narrator lets us know that they think of each other constantly, in
an “inexplicable friendship between two very different women”.</span></i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://quadcinema.com/wp-content/uploads/2018/06/one-sings-2-e1528744724842.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="800" height="267" src="https://quadcinema.com/wp-content/uploads/2018/06/one-sings-2-e1528744724842.jpg" width="400" /></a></i></span></div><p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">É entre mulheres que ambas, Pomme e Suzanne,
encontram consolo e alívio. Pomme se sentiu aliviada, ao se submeter ao aborto,
ao ver tantas mulheres diferentes na mesma situação, literalmente no mesmo
barco que as levava para a clínica. Suzanne se sentiu aceita numa família pela
primeira vez quando ela conheceu as outras mulheres que trabalhavam na fábrica,
onde ela conquistou independência financeira. Agora Suzanne trabalha em uma
clínica de planejamento familiar onde, entre outras coisas, briga com católicas
que não querem tomar a pílula que lhes foi prescrita.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">It is among women that
both Pomme and Suzanne find solace. Pomme felt relieved to go through an
abortion seeing so many different women at the same situation, sharing a both
ride to and from the clinic. Suzanne felt accepted in a family for the first
time when she met the other women who worked in the factory, where she found
financial independence. Now Suzanne works in a family planning clinic where,
among other things, argues with Catholics who don’t want to take the prescribed
pill.</span></i><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://static01.nyt.com/images/2018/06/01/arts/01rewind/merlin_138811995_1399e2a4-ffa8-45da-a913-45a3f7e2f7eb-superJumbo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="532" data-original-width="800" height="266" src="https://static01.nyt.com/images/2018/06/01/arts/01rewind/merlin_138811995_1399e2a4-ffa8-45da-a913-45a3f7e2f7eb-superJumbo.jpg" width="400" /></a></i></span></div><p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O filme toma ares exóticos quando Pomme e Darius
vão para o Irã. O filme estreou um ano antes da Revolução Iraniana, que tentou
– e em alguns casos falhou, graças à resistência das mulheres – remover
direitos das mulheres e afastá-las da força de trabalho. No filme, Pomme
menciona que sente que há uma separação no Irã entre o mundo feminino, nos
banhos turcos e mercados, e o mundo masculino, nas ruas e cafés. É também no
Irã que Pomme percebe Darius se transformando, de um cara liberal e feminista,
em um marido tradicional. Pomme, que só queria romance num local exótico,
começa a se sentir presa.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">The film takes an
exotic turn when Pomme and Darius go to Iran. The film was released one year
before the Iranian Revolution, that tried - and in some extent failed, thanks
to women’s resistance - to remove women’s rights and send them away from the
workforce. In the movie, Pomme mentions feeling that there is a separation in
Iran between the female world, in Turkish baths and markets, and the male
world, in the streets and cafés. It’s also in Iran that Pomme notices Darius
morphing from a liberal, feminist dude into a traditional husband. Pomme, who
only wanted romance in an exotic location, is feeling trapped instead.</span></i><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSsUVgxchJIvVJ7EthAq6i1vHv_xHNq04KUWA&usqp=CAU" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="174" data-original-width="289" height="241" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSsUVgxchJIvVJ7EthAq6i1vHv_xHNq04KUWA&usqp=CAU" width="400" /></a></i></span></div><p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Agnès Varda assinou o “Manifesto das 343”, um
abaixo-assinado assinado por 343 mulheres francesas, algumas delas notórias,
que fizeram aborto. Ele foi assinado em 1971 e inspirou outro abaixo-assinado,
este de 331 médicos que pediam pela legalização do aborto. É por isso que Varda
trata aborto e gravidez como iguais, como escolhas – como sempre deveria ser.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Agnès Varda signed the “Manifeste
des 343”, a manifest signed by 343 notorious French women who had had
abortions. It was signed in 1971 and inspired a follow-up petition signed by
331 doctors asking for the legalization of abortion. That’s why Varda treats
abortion and pregnancy as equals, as choices - as it should always be.</span></i><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://sfmoma-media-dev.s3.us-west-1.amazonaws.com/www-media/2019/11/25101525/Varda_One-Sings-the-Other-Doesnt_002.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="548" data-original-width="800" height="274" src="https://sfmoma-media-dev.s3.us-west-1.amazonaws.com/www-media/2019/11/25101525/Varda_One-Sings-the-Other-Doesnt_002.png" width="400" /></a></i></span></div><p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">É dito no filme que todas as canções são de
autoria de Pomme. Estas músicas são sobre sororidade, sentimentos durante a
gravidez, a jornada dupla que as mulheres enfrentam, o fato de que “meu corpo é
meu” e muitos outros assuntos feministas. As músicas não são chiclete, mas são
ao mesmo tempo inspiradas e inspiradoras. </span></span><span style="color: #cc0000; font-family: Georgia, serif; font-size: 15pt;">No IMDb, Varda não é creditada pelas letras das
músicas, mas mesmo sem este crédito no filme podemos perceber que as letras são
dela, pois Varda era uma “feminista raivosa”, como ela mesma se definia: uma
vez disse que queria ser uma feminista alegre, mas estava com muita raiva de
como as coisas estavam. Então ela lutou para mudar as coisas, com a arma que
dominava: o cinema.</span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">It’s said in the film
that all songs are by Pomme. These songs are about sorority, feelings during
pregnancy, the double journey women face, the fact that “my body is mine” and
many other feminist issues. The songs are not catchy, but are both inspired and
inspiring. On IMDb, Varda is not credited for the lyrics of the songs, but even
without the credits in the film we can see they are hers, as Varda was the
staunch angry feminist she called herself, as she once said that she wanted to
be a joyful feminist, but was too angry with the way things were. So she fought
to change things, with the weapon she dominated: cinema.</span></i><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://s3.amazonaws.com/criterion-production/editorial_content_posts/hero/6399-/zruFwwGO5oYHYIkppjrDqiEGAX8NeB_original.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://s3.amazonaws.com/criterion-production/editorial_content_posts/hero/6399-/zruFwwGO5oYHYIkppjrDqiEGAX8NeB_original.jpg" width="400" /></a></i></span></div><p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">A filha de Suzanne, Marie, repete um discurso
feminista para um namorado, que a zomba. Na verdade, o filme termina com a
câmera em Marie, com a narradora dizendo que as coisas provavelmente seriam
mais fáceis e mais claras para Marie e as garotas da geração dela, porque
mulheres como Suzanne e Pomme lutaram por elas. Não é uma escolha sem
significado: Marie aqui, aos 17 anos, é interpretada pela filha de Varda,
Rosalie, para quem o filme é dedicado. Com “Uma Canta, a Outra Não”, Varda
estava criando um futuro para Rosalie, e nos contando com todos os detalhes que
tipo de futuro era este. Porque é isso que nós mulheres fazemos juntas: criamos
futuros. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Suzanne’s daughter
Marie repeats a feminist speech for a boyfriend, who mocks her. Actually, the
film ends with the camera on Marie, with the narrator saying that things would
probably be easier and clearer for Marie and the girls form her generation,
because women like Suzanne and Pomme fought for them. It’s not a meaningless
choice: Marie here, at age 17, is played by Varda’s daughter Rosalie, to whom
the movie is dedicated. With “One Sings, the Other Doesn’t”, Varda was creating
a future for Rosalie, and telling us with all details which kind of future it
was. Because it’s this that us women do together: we create futures.</span></span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; line-height: 150%; mso-ansi-language: EN-US;"><o:p></o:p></span></i></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com2tag:blogger.com,1999:blog-5719905867000998397.post-823189739911220042024-01-27T18:50:00.001-03:002024-02-06T17:34:11.535-03:00O Nome da Rosa (1986) / The Name of the Rose (1986)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Fato curioso: eu sou formada em
Biblioteconomia! Mesmo trabalhando como crítica de cinema, tenho orgulho de
dizer que me formei em 2022, depois de muito esforço. Dito isto, é óbvio que
filmes - e livros - sobre bibliotecários me interessam muito. Por isso eu
escolhi revisitar o filme “O Nome da Rosa”, e também ler o livro, tendo como
foco o retrato do bibliotecário nestas obras.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">Fun fact: I hold a degree in Library Science! Even
though I work as a film critic, I’m proud to say I finished the degree in 2022,
after a lot of hard work. That being said, it’s obvious that movies - and books
- about librarians are of utmost interest to me. That’s why I chose to revisit
the movie “The Name of the Rose”, and also read the novel, focusing on the
portrayal of the librarian in these works.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://image.tmdb.org/t/p/original/dEt3JlyFfqCJjL2mGE9AkJ1DS2N.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="533" height="400" src="https://image.tmdb.org/t/p/original/dEt3JlyFfqCJjL2mGE9AkJ1DS2N.jpg" width="267" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">A história se passa durante sete dias em 1327,
mas é na verdade narrada por um Adso mais velho. Em 1327, Adso de Melk
(Christian Slater) e seu mentor William de Baskerville (Sean Connery) chegam a
uma abadia onde algo terrível havia acontecido: um dos monges havia morrido em
circunstâncias misteriosas. William, sendo um homem sábio, é chamado para
investigar o caso. Logo depois de sua chegada, mais mortes misteriosas
acontecem. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">The story takes place during seven days in 1327, but
is actually being narrated by an older Adso. In 1327, Adso de Melk (Christian
Slater) and his mentor William of Baskerville (Sean Connery) arrive in an abbey
where a terrible thing has happened: one of the monks had died in obscure
circumstances. William, being the wise man he is, is asked to investigate the
case. Right after he arrives, more complicated deaths occur.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://image.tmdb.org/t/p/original/yxYInilc96gNItxZxKIqIkx26Pd.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://image.tmdb.org/t/p/original/yxYInilc96gNItxZxKIqIkx26Pd.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O que todos os monges mortos tinham em comum
era alguma ligação com a biblioteca da abadia. A biblioteca é um local
trancado, quase sagrado, e palco de intrigas. O lugar é protegido pelo
bibliotecário-chefe Malaquias (Volker Prechtel) e seu assistente Berengário
(Michael Habeck). É um local não para preservar e obter conhecimento, mas para
manter o conhecimento cativo. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">What all the dead monks had in common was that they
all had some kind of link with the library of the abbey. The library is a
locked, almost sacred, place and the stage for intrigues. The place is
protected by chief librarian Malachia (Volker Prechtel) and his assistant
Berengar (Michael Habeck). It’s a place not to preserve and obtain knowledge,
but to hold knowledge captive.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BZDU0MjYwOGEtNWFhYy00OTA0LWE3ZjAtMGFjYzA3NzliMDRlXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="449" data-original-width="800" height="224" src="https://m.media-amazon.com/images/M/MV5BZDU0MjYwOGEtNWFhYy00OTA0LWE3ZjAtMGFjYzA3NzliMDRlXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Na Idade Média, o mais perto das modernas
bibliotecas que existia eram os monastérios, onde livros não eram apenas
guardados, mas estudados e copiados pelos monges. Isto é descrito em “O Nome da
Rosa”, com muitos segredos sendo guardados pelos monges no scriptorium - onde
os livros eram copiados -, especialmente pelos monges que sabiam línguas
estrangeiras como árabe e grego. Os manuscritos eram sobre assuntos religiosos
ou escritos por religiosos, e algumas obras seculares também eram guardadas -
no livro, para servir de exemplo do que não pensar - e até mesmo emprestar e
pegar emprestados manuscritos era possível devido aos monges itinerantes como
William e Adso. No tempo em que se passam o livro e o filme, já havia
bibliotecas sendo construídas dentro das novas universidades. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">In the Middle Ages, the closest we had to modern libraries
were monasteries, where books were not only kept, but also studied and copied
by monks. This is described in “The Name of the Rose”, with many secrets being
held by the monks in the scriptorium - where the books were copied -,
especially the monks who knew foreign languages such as Arab and Greek. Manuscripts
were about religious issues or by religious figures, and some secular writings
were kept - in the book, to be an example of what not to think - and even
lending and borrowing manuscripts was made possible because of travelling monks
such as William and Adso. By the time book and movie are set, there were
already libraries being constructed inside the new universities.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BMDYxMmFhOTktMjNlOS00Y2UyLTgxZDItMTdmOWFkNTc1ODk2XkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="453" data-original-width="800" height="227" src="https://m.media-amazon.com/images/M/MV5BMDYxMmFhOTktMjNlOS00Y2UyLTgxZDItMTdmOWFkNTc1ODk2XkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O filme define a si mesmo como “um palimpsesto
do romance de Umberto Eco. Palimpsesto significa, de acordo com o dicionário
Merriam-Webster, “material escrito usado uma ou mais vezes depois que o escrito
anterior foi apagado.” É um jeito elegante de dizer que se trata de uma
adaptação mais ou menos fiel do livro. Duas diferenças principais: o personagem
Salvatore (Ron Perlman) não é corcunda no livro; e no filme os inquisidores
ficam por mais tempo, inclusive usando o pátio da abadia para queimar as
pessoas consideradas culpadas após julgamento. Além disso, no filme, William é
ainda mais perspicaz do que no livro, e muitas discussões sobre fé não estão no
filme, embora sejam importantes para a trama.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">The movie defines itself as “a palimpsest of Umberto
Eco’s novel”. Palimpsest means, according to the Merriam-Webster dictionary,
“writing material used one or more times after earlier writing has been
erased”. It’s a fancy way to say that the movie is a somewhat-faithful
adaptation of the novel. Two main differences: character Salvatore (Ron
Perlman) doesn’t have a hunchback in the novel; and in the film the inquisitors
stay for a longer time, even using the abbey’s patio to set fire to those found
guilty in the judgments.</span> <o:p></o:p></span></i><i style="text-align: left;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 115%;"><span style="color: #cc0000;">Also, in the movie, William of Baskerville is even more perceptive than
in the novel, and many discussions about faith are not in the movie, even
though they are important to the plot.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://pics.filmaffinity.com/The_Name_of_the_Rose-323255530-large.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="514" data-original-width="800" height="257" src="https://pics.filmaffinity.com/The_Name_of_the_Rose-323255530-large.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Este é um filme que não passa no Teste de
Bechdel, ou seja, um filme que não tem ao menos duas personagens femininas com
nome e que conversam entre si sobre um assunto que não seja sobre homens. A
garota no filme não tem nome, não tem falas nem poder. Isto é esperado de um
filme cuja trama acontece dentro de uma abadia, e considerando toda a história
da exclusão das mulheres pela religião católica. Há inclusive um momento em que
William cita a Bíblia, dizendo: “mais amarga que a morte é a mulher”. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">This is a movie that doesn’t pass the Bechdel Test,
that is, a movie that doesn’t have at least two female characters with names
and who talk to each other about a subject that is not men. The girl in the
film is both nameless, lineless and powerless. This is expected, as a movie
whose action happens in an abbey, and considering the whole history of female
exclusion in the Catholic religion. There is even a moment when William quotes
the Bible, saying: “bitterer than death is the woman”.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://m.media-amazon.com/images/M/MV5BNDgyM2ZiYjMtM2EwOS00NmNmLTkyNWYtN2VhN2EyZmFlNDFhXkEyXkFqcGdeQXVyOTc5MDI5NjE@._V1_SY288_SX512_AL_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="288" data-original-width="512" height="225" src="https://m.media-amazon.com/images/M/MV5BNDgyM2ZiYjMtM2EwOS00NmNmLTkyNWYtN2VhN2EyZmFlNDFhXkEyXkFqcGdeQXVyOTc5MDI5NjE@._V1_SY288_SX512_AL_.jpg" width="400" /></a></div></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">De acordo com o IMDb, Sean Connery estava em um
momento difícil da carreira quando fez este filme. Mas seu retorno ao sucesso
viria logo: no ano seguinte ele faria “Os Intocáveis”, pelo qual ganharia um
Oscar de Melhor Ator Coadjuvante. Por “O Nome da Rosa” Connery ganhou um BAFTA
de Melhor Ator.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">According to IMDb, Sean Connery was in a very low
point of his career when he made this movie. But his comeback was just around
the corner: the following year he would make “The Untouchables”, for which he
would win an Oscar for Best Supporting Actor. For “The Name of the Rose”
Connery won a BAFTA for Best Actor.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BODQ1ZWVjOGYtMTcyZi00YzQyLTkwNDAtMDJmYmEwZWY3YTAxXkEyXkFqcGdeQXVyMTIwODk1NTQ@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="454" data-original-width="800" height="227" src="https://m.media-amazon.com/images/M/MV5BODQ1ZWVjOGYtMTcyZi00YzQyLTkwNDAtMDJmYmEwZWY3YTAxXkEyXkFqcGdeQXVyMTIwODk1NTQ@._V1_.jpg" width="400" /></a></span></i></div><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><br /></span></i><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Para a faculdade, eu tinha de escrever um
artigo de 15 páginas sobre qualquer assunto dentro da Biblioteconomia. Meu primeiro
impulso foi escrever sobre “O Nome da Rosa”, comparando livro, filme e vida
real. Em vez disso, eu escolhi escrever sobre adaptações necessárias para uma
biblioteca atender usuários com deficiência. Eu fico feliz que tenha mudado de
ideia, pois agora posso escrever, num artigo para o blog simples mas - espero -
informativo, sobre “O Nome da Rosa” - o mais famoso romance de Umberto Eco, mas
ao mesmo tempo aquele que ele considerava seu pior trabalho de ficção. Sobre o
filme, em 2013 Eco foi sucinto: “é um bom filme”. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">For college, once I had to write a 15-page paper on
any topic of Library Science. My first urge was to write about “The Name of the
Rose”, comparing novel, movie and real life. I chose instead to write about
adaptations a library needs to accommodate users with disabilities. I’m glad I
changed my mind, so now I can write, in a simple but I hope informative blog
post, about “The Name of the Rose” - Umberto Eco’s most famous novel, but the
one he considered his worst work of fiction. About the movie, in 2013 Eco was
succinct: “it’s a nice movie”.</span><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">This is my contribution to the On the Job blogathon,
hosted by <b><a href="https://hamlette.blogspot.com/2024/01/the-on-job-blogathon-is-here.html" target="_blank">Hamlette’s Soliloquy</a></b> and <b><a href="https://midnitedrive-in.blogspot.com/2024/01/on-job-blogathon-is-here.html" target="_blank">The Midnite Drive-In</a></b>.</span><span style="color: #1d2228;"><o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXRypNyiP-HihoNe_bLFi9kmQjVFWahCn5L1WU1AUxWh3AOhITuQZWXSaC6Dlu-uI-zB84SEna6yAD87j341A3v5AcyOnTorPnZQwyHwpH0pe26owyMnqR4-oTnEKPUIwfDfworh8nT0vqdmvXc2Azr73Xl9pwvscWQJDQUv9iIx-kXc22ERIZ/s320/On%20the%20Job%20Blogathon%205.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="320" height="335" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXRypNyiP-HihoNe_bLFi9kmQjVFWahCn5L1WU1AUxWh3AOhITuQZWXSaC6Dlu-uI-zB84SEna6yAD87j341A3v5AcyOnTorPnZQwyHwpH0pe26owyMnqR4-oTnEKPUIwfDfworh8nT0vqdmvXc2Azr73Xl9pwvscWQJDQUv9iIx-kXc22ERIZ/w400-h335/On%20the%20Job%20Blogathon%205.png" width="400" /></a></i></div><p></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com5tag:blogger.com,1999:blog-5719905867000998397.post-15501638266165672702024-01-19T23:02:00.000-03:002024-01-19T23:02:46.034-03:00O Abismo (1910) / The Abyss (1910) / Afgrunden (1910)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Muito tempo atrás, as estrelas de cinema não recebiam crédito
nem no começo nem ao final dos filmes. Esta foi a maneira que os primeiros
cineastas encontraram para evitar que atores e atrizes ficassem famosos demais,
o que os faria demandar salários maiores. Mas logo antes de descobrirem que a
Cachinhos Dourados era a atriz canadense Mary Pickford, que iria se tornar uma
superestrela nos EUA, outra superestrela apareceu do outro lado do Atlântico:
Asta Nielsen. Com uma dança lasciva em seu primeiro filme, “O Abismo /
Afgrunden” de 1910, Nielsen se tornou uma sensação do dia para a noite.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Once upon a time, film stars didn’t receive credit on screen.
It was the way the first filmmakers found to not let the actors and actresses
become too famous, which would lead to a claim for higher salaries. But just
before Little Goldilocks was discovered to be Canadian actress Mary Pickford,
who would become a superstar in American cinema, another superstar emerged on
the other side of the Atlantic: Asta Nielsen. With a lascivious dance in her
first film, 1910’s “The Abyss / Afgrunden”, Nielsen became an overnight sensation.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BMjQ2Njc4MTI5NF5BMl5BanBnXkFtZTgwMDY4MjA4MTE@._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="364" height="400" src="https://m.media-amazon.com/images/M/MV5BMjQ2Njc4MTI5NF5BMl5BanBnXkFtZTgwMDY4MjA4MTE@._V1_.jpg" width="291" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Um homem e uma mulher se conhecem num bonde. O
homem é Knud Svane (Robert Dinesen) e a mulher é Magda Vang (Asta Nielsen).
Knud convida Magda para passar uns dias em sua casa de campo durante o verão, e
lá ela o convence a assistir a uma performance de um circo itinerante. No circo
Magda conhece o artista Rudolf Stern (Paul Reumert), se apaixona e foge com
ele. Ela terá seu felizes para sempre? Veremos depois de 38 minutos de
projeção.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">A man and a woman meet on a trolley. The man is Knud Svane
(Robert Dinesen) and the woman is Magda Vang (Asta Nielsen). Knud invites Magda
to his country home during summer, and there she convinces him to watch a
performance from a traveling circus. At the circus Magda meets performer Rudolf
Stern (Paul Reumert), falls in love and runs away with him. Will she get a
happily ever after? After 38 minutes of projection, we shall see.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://silentlondon.files.wordpress.com/2022/03/abyss-writing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="621" data-original-width="800" height="248" src="https://silentlondon.files.wordpress.com/2022/03/abyss-writing.jpg" width="320" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">A sequência de dança sugestiva, chamada de “dança
Gaucho”, envolve Asta Nielsen esfregando seu corpo, totalmente vestida, num
homem que está amarrado por uma corda. A sequência foi considerada escandalosa
e censurada nos EUA, Noruega e Suécia, mas foi uma sensação no resto da Europa.
Hoje, não vemos nada de errado nem mesmo de sensual na sequência, o que mostra
como os tempos mudaram.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">The suggestive dance sequence, called “the Gaucho dance”,
involves Asta Nielsen rubbing her fully dressed body in a man who is tied with
a rope. The sequence was considered scandalous and censored in the US, Norway
and Sweden but was a sensation in the rest of Europe. Nowadays, we see nothing
wrong nor even sensual about the sequence, a sign of how times have changed.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://whatson.bfi.org.uk/ArticleMedia/Images/WhatsOn%20images/202202/abyss-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://whatson.bfi.org.uk/ArticleMedia/Images/WhatsOn%20images/202202/abyss-01.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“O Abismo” foi escrito e dirigido por Urban
Gad, que se casaria com Asta em 1912. Eles se mudariam para a Alemanha no mesmo
ano, onde Nielsen teria uma bem-sucedida carreira, com Gad dirigindo-a em 30
filmes. Eles se separaram em 1918, quando também terminou a parceria
profissional. Asta Nielsen ficou tão famosa em tão pouco tempo que em 1911 foi
eleita a maior estrela de cinema numa enquete feita na Rússia.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">“The Abyss” was written and directed by Urban Gad, who would
marry Asta in 1912. They would move to German that same year, where Nielsen
enjoyed a successful career, with Gad directing her in 30 movies. They split in
1918, when the professional partnership also ended. Asta Nielsen became so
famous and so quickly that in 1911 she was voted the biggest film star in a
poll held in Russia.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://danskfilmogteater.dk/wp-content/uploads/2016/06/afgrunden.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="300" height="300" src="https://danskfilmogteater.dk/wp-content/uploads/2016/06/afgrunden.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Em 1911, Nielsen fez “A Bailarina /
Balletdanserinden” com o diretor August Blom, logo antes de partir para Berlim.
Neste filme, ela interpreta Camille, uma bailarina que faz sucesso nos palcos,
mas sua vida pessoal é mais complicada: ela está apaixonada por Jean (Johannes
Poulsen), que a trai com uma mulher casada, Yvette Simon (Karen Poulsen).
Depois de posar para um pintor, Paul (Valdemar Psilander), ela fica dividida
entre os dois homens.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">In 1911, Nielsen made “The Ballet Dancer / Balletdanserinden”
with director August Blom, just before leaving to Berlin. In this movie, she
plays Camille, a ballet dancer who finds professional success on stage, but her
personal life is more complicated: she is in love with Jean (Johannes Poulsen),
who cheats on her with a married woman, Yvette Simon (Karen Poulsen). After
posing for a painter, Paul (Valdemar Psilander), she becomes torn between the
two men.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://www.dfi.dk/sites/default/files/styles/dfi_scale_1020/public/balletdanserinden.jpg?itok=EdG0Z_dU" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="427" data-original-width="800" height="213" src="https://www.dfi.dk/sites/default/files/styles/dfi_scale_1020/public/balletdanserinden.jpg?itok=EdG0Z_dU" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Também de 1911 é “O Sonho Negro / Den Sorte Drøm”,
um dos mais antigos longas-metragens preservados, no qual Nielsen interpreta a
acrobata equestre Stella, por quem dois homens se apaixonam. Ela escolhe o
Conde Waldberg (Valdemar Psilander), desprezando o joalheiro Hirsch (Gunnar
Helsengreen). Há um duelo entre os dois homens num jogo de cartas, no qual
Waldberg perde todas as suas posses, e Stella tem de intervir, sem que ele
saiba, roubando um colar de Hirsch. O ciúme consome Waldberg e o que se segue é
uma tragédia.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Also from 1911 is “The Black Dream / Den Sorte Drøm”, one of
the earliest surviving feature-length films, in which Nielsen plays the
equestrian acrobat Stella, with whom two men fall in love. She chooses Count
Waldberg (Valdemar Psilander) over the jeweler Hirsch (Gunnar Helsengreen).
There is a duel between the two men in the card table, when Waldberg loses all
his possessions, and Stella has to intervene, without him knowing, by stealing
a necklace from Hirsch. Jealousy consumes Waldberg and tragedy follows.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://live.staticflickr.com/6036/6339356648_00a82835b9_z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="639" data-original-width="469" height="400" src="https://live.staticflickr.com/6036/6339356648_00a82835b9_z.jpg" width="294" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Já na Alemanha em 1912, Asta Nielsen e Urban
Gad fizeram o melodrama “Pobre Jenny / Die Arme Jenny”, no qual ela interpreta
o papel-título, uma jovem mulher que precisa cuidar de seus irmãozinhos. Um dia
ela é beijada por um homem, Eduard Reinhold (Leo Peukert) contra a vontade dela,
mas ela aceita sair com ele. Depois de passar a noite com o homem, ela é
expulsa de casa. Ela então vai para a cidade grande e se torna dançarina... até
que ela reencontra Eduard e percebe que não esqueceu seu primeiro amor.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Already in German in 1912, Asta Nielsen and Urban Gad made
the melodrama “Poor Jenny / Die Arme Jenny”, in which she plays the title role,
a young woman who has to take care of her little siblings. One day she is
kissed by a man, Eduard Reinhold (Leo Peukert), against her will, but agrees to
go out with him. After spending the night with him, she is expelled from home.
She then goes to the big city and becomes a dancer… until she meets Eduard
again and realizes she didn’t forget her first love.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://asset.library.wisc.edu/1711.dl/HBROMIDODVSTF8M/M/h1380-ff820.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="300" src="https://asset.library.wisc.edu/1711.dl/HBROMIDODVSTF8M/M/h1380-ff820.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Também em 1912, Nielsen e Gad se juntaram
novamente para fazer “A Garota sem Pátria / Das Mädchen ohne Vaterland”. Neste
curta, Asta interpreta a cigana Zidra, que é contratada por um homem do
exército para uma missão secreta. Esperteza e sedução serão suas armas, mas ela
não imaginava que se apaixonaria pelo tenente que tem de espionar.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Also in 1912, Nielsen and Gad teamed up again to make “A
Romany Spy / Das Mädchen ohne Vaterland”. In this short, Asta plays gypsy girl
Zidra, who is hired by a military man for a secret mission. Smartness and
seduction will be her weapons, but she didn’t imagine that she would fall in
love with the lieutenant she was supposed to spy on.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/b55a48028f4aa7430a6288e3ee20be2a/3077e53f1f831053-db/s640x960/c3f9ee834c10ab1a1f20550d6967a5a7fbee1f20.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="476" data-original-width="622" height="306" src="https://64.media.tumblr.com/b55a48028f4aa7430a6288e3ee20be2a/3077e53f1f831053-db/s640x960/c3f9ee834c10ab1a1f20550d6967a5a7fbee1f20.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Os filmes de Asta Nielsen do começo da década
de 1910 não apenas mostram por que ela se tornou uma superestrela mas também
nos convencem de que o primeiro cinema é muito mais sofisticado do que o senso
comum nos faz acreditar. As histórias são atraentes, com tramas complexas, e as
técnicas do fazer cinematográfico ainda estavam sendo desenvolvidas, por isso
há muita experimentação. Acima de tudo, há Asta Nielsen e sua persona
cinematográfica sexy e ousada, perfeita para a primeira superestrela do cinema.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Asta Nielsen’s films from the early 1910s not only show why
she became a superstar but also convince us that early cinema is much more
sophisticated than the common sense made us believe. The storytelling is
compelling, with complex plots, and the filmmaking techniques were still being
developed, so there is experimentation. Above all, there is Asta Nielsen and
her sexy, bold screen persona, perfect for the first female film superstar.</span></span></i></span><span lang="EN-US" style="background: white; color: #1d2228; font-family: "Helvetica",sans-serif; font-size: 10.0pt; line-height: 150%; mso-ansi-language: EN-US;"><o:p></o:p></span></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com1tag:blogger.com,1999:blog-5719905867000998397.post-83298139533598727742024-01-03T18:44:00.004-03:002024-02-16T18:19:36.736-03:00Resoluções Cinematográficas 2024 / 12 classics for 2024<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Depois do imenso sucesso das minhas resoluções cinematográficas
de 2023, com um filme por mês sendo visto e resenhado aqui, eu volto com minha
lista para 2024. São 12 filmes, feitos entre 1910 e 1982, dos mais obscuros
títulos ao grande clássico que me escapou até agora. Mais uma vez, escolho
entre filmes que tenho em DVD e que gravei na televisão, e outros que quero ver
faz tempo. 2024 vai ser massa. E o cinema fará parte disso, com certeza.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">After the huge success of my 12 classics for 2023,
with one film every month to be seen and written about, I’m back with my 2024 list.
There are 12 films, made between 1910 and 1982, from the most obscure titles
until the great classic that had evaded me until now. Once more, I choose
between films I had on DVD and that I had recorded on my VCR and others that I’ve
been meaning to see for a long time. 2024 will be a great year. And cinema for
sure will be part of it.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6zWNfX85m7WXwkNRchLVJ0pIXK79YpJtXHAUHFgpmWXBptg3rbZPkD_LPfBppFRUJ1NN5A5zAUvbMQPP38L-kZ1oDk-fjiDgatMxHJRWpv94jGZZp0TVuFQyBfGOedUwU1ui_kGg42Q4BVUAXcA_lIon9Tsjpw3UwbcfAnkDW2Xf030CaChYDGkenDuE/s1358/mary%20pickford.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1358" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6zWNfX85m7WXwkNRchLVJ0pIXK79YpJtXHAUHFgpmWXBptg3rbZPkD_LPfBppFRUJ1NN5A5zAUvbMQPP38L-kZ1oDk-fjiDgatMxHJRWpv94jGZZp0TVuFQyBfGOedUwU1ui_kGg42Q4BVUAXcA_lIon9Tsjpw3UwbcfAnkDW2Xf030CaChYDGkenDuE/w318-h400/mary%20pickford.jpg" width="318" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Minha lista / My list:<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="yiv0196828065p1" style="background: transparent; margin-bottom: .0001pt; margin: 0cm;"><span style="color: #cc0000;"><span class="yiv0196828065s1"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;"><a href="https://criticaretro.blogspot.com/2024/01/o-abismo-1910-abyss-1910-afgrunden-1910.html" target="_blank">O Abismo / The Abyss / Afgrunden (1910)</a></span></span><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;"><o:p></o:p></span></span></p><p class="yiv0196828065p1" style="background: transparent; margin-bottom: .0001pt; margin: 0cm;"><span style="color: #cc0000;"><span class="yiv0196828065s1"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;"><br /></span></span></span></p>
<p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;"><a href="https://criticaretro.blogspot.com/2024/02/seja-minha-mulher-1921-be-my-wife-1921.html" target="_blank">Seja Minha Mulher / Be My Wife (1921)</a></span></span></span><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;"><o:p></o:p></span></span></p><p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;"><br /></span></span></span></span></p>
<p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;">Os Espiões / Spies / Spione (1928)</span></span></span><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;"><o:p></o:p></span></span></p><p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;"><br /></span></span></span></span></p>
<p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;">A Daughter of Destiny / Alraune (1928)</span></span></span><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;"><o:p></o:p></span></span></p><p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;"><br /></span></span></span></span></p>
<p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span style="font-family: Georgia, "serif"; font-size: 15pt;">O Demônio da Algéria / Pépé le Moko
(1936)</span></span></span><span style="font-family: Georgia, "serif"; font-size: 15pt;"><o:p></o:p></span></span></p><p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span style="font-family: Georgia, "serif"; font-size: 15pt;"><br /></span></span></span></span></p>
<p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span style="font-family: Georgia, "serif"; font-size: 15pt;">Beco sem Saída/ Dead End (1937)</span></span></span><span style="font-family: Georgia, "serif"; font-size: 15pt;"><o:p></o:p></span></span></p><p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span style="font-family: Georgia, "serif"; font-size: 15pt;"><br /></span></span></span></span></p>
<p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span style="font-family: Georgia, "serif"; font-size: 15pt;">Na Noite do Passado / Random
Harvest (1942)</span></span></span><span style="font-family: Georgia, "serif"; font-size: 15pt;"><o:p></o:p></span></span></p><p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span style="font-family: Georgia, "serif"; font-size: 15pt;"><br /></span></span></span></span></p>
<p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span style="font-family: Georgia, "serif"; font-size: 15pt;">Mortalmente Perigosa / Gun Crazy
(1950)</span></span></span><span style="font-family: Georgia, "serif"; font-size: 15pt;"><o:p></o:p></span></span></p><p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span style="font-family: Georgia, "serif"; font-size: 15pt;"><br /></span></span></span></span></p>
<p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span style="font-family: Georgia, "serif"; font-size: 15pt;">Playtime - Tempo de Diversão /
Playtime (1967)</span></span></span><span style="font-family: Georgia, "serif"; font-size: 15pt;"><o:p></o:p></span></span></p><p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span style="font-family: Georgia, "serif"; font-size: 15pt;"><br /></span></span></span></span></p>
<p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;">Adeus, Mr Chips / Goodbye Mr Chips (1969)</span></span></span><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;"><o:p></o:p></span></span></p><p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt;"><br /></span></span></span></span></p>
<p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span style="font-family: Georgia, "serif"; font-size: 15pt;">Duas Inglesas e o Amor / Two
English Girls (1971)</span></span></span><span style="font-family: Georgia, "serif"; font-size: 15pt;"><o:p></o:p></span></span></p><p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;"><span style="outline: none;"><span class="yiv0196828065s1"><span style="font-family: Georgia, "serif"; font-size: 15pt;"><br /></span></span></span></span></p>
<p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="outline: none;"><span class="yiv0196828065s1"><span style="font-family: Georgia, "serif"; font-size: 15pt;"><span style="color: #cc0000;">Blade Runner (1982)</span></span></span></span><span style="color: black; font-family: "Georgia","serif"; font-size: 15pt; mso-bidi-font-family: Helvetica;"><o:p></o:p></span></p><p class="yiv0196828065p1" style="-webkit-text-stroke-width: 0px; background: transparent; font-stretch: normal; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0cm; orphans: 2; outline: none; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="outline: none;"><span class="yiv0196828065s1"><span style="font-family: Georgia, "serif"; font-size: 15pt;"><span style="color: #cc0000;"><br /></span></span></span></span></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com1tag:blogger.com,1999:blog-5719905867000998397.post-68244544062146572182023-12-30T23:08:00.001-03:002023-12-30T23:08:04.227-03:00O Prêmio de Beleza (1926) / Ella Cinders (1926)<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Uma história tão velha quanto o tempo, mas não
é A Bela e a Fera. Hoje nosso assunto é Cinderela e todos os elementos
familiares que vêm com o conto de fadas: a Fada Madrinha, a abóbora que se
transforma em carruagem, o encantamento que acaba à meia-noite, o sapatinho de
cristal que é deixado para trás e que o Príncipe experimenta nas mulheres. Todos
estes elementos estavam lá quando Georges Méliès fez a primeira Cinderela do
cinema, em 1899. Eles estavam todos lá em 1914, quando Mary Pickford estrelou
sua própria versão adorável do conto. Mas a era do cinema mudo nem havia
chegado ao fim quando a história foi modernizada e subvertida no hilário filme “O
Prêmio de Beleza” (1926).</span><span style="color: #1d2228;"><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">A tale as old as time, but not Beauty and the Beast.
Today we talk about Cinderella and all the familiar bits that come in the
story: the Fairy Godmother, the pumpkin that becomes a carriage, the
enchantment that ends at midnight, the glass slipper lost and left for the
Prince to try on the women. They were all there, when Georges Méliès did the
first Cinderella in film history, in 1899. They were all there in 1914, when
Mary Pickford starred in her own adorable version of the tale. But the silent
film era wasn’t over yet when </span></span></i><i style="text-align: left;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 115%;"><span style="color: #cc0000;">the story was modernized and subverted in the hilarious "Ella Cinders" (1926).</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://upload.wikimedia.org/wikipedia/commons/3/30/Ella_cinders_poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="725" data-original-width="523" height="400" src="https://upload.wikimedia.org/wikipedia/commons/3/30/Ella_cinders_poster.jpg" width="289" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Na cidade de Roseville mora a família Cinder,
cuja filha adotiva Ella (Colleen Moore) faz todas as tarefas em casa. Quando
chega a notícia de que um concurso de beleza será feito na cidade, com o prêmio
sendo uma quantia em dinheiro e uma passagem para Hollywood, todas as garotas
ficam animadas, incluindo Ella. Ela economiza dinheiro para tirar uma foto para
o concurso, mas não tem roupa para ir ao baile onde a vencedora será anunciada.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">In the city of Roseville live the Cinders, whose stepdaughter
Ella (Colleen Moore) does all the chores in her house. When news come that a
beauty contest is about to take place in town, with the prize being a sum of
money and a ticket to Hollywood, all girls get excited, including Ella. She
saves money to take a picture for the contest, but has no clothes to go to the
ball where the winner will be announced.</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://www.silentfilmstillarchive.com/stills/ella_cinders015.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="513" data-original-width="640" height="321" src="https://www.silentfilmstillarchive.com/stills/ella_cinders015.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Ella só vai ao baile por insistência de seu
amigo Waite (Lloyd Hughes), vendedor de gelo. Lá ela é humilhada e deixa seu
sapatinho para trás. No dia seguinte, os jurados do concurso chegam à casa dos
Cinder procurando pela filha deles. Ella ganhara o concurso e o resto do filme
conta suas aventuras em Hollywood. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Ella only goes to the ball because of the insistence
of her friend Waite (Lloyd Hughes), the iceman. There she is humiliated and
leaves her shoe behind. The next day, the jurors of the contest arrive at the
Cinders’ house in search for their daughter. Ella has won the contest and the
remainder of the movie chronicles her misadventures in Hollywood.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://i.pinimg.com/originals/3a/42/a8/3a42a8ef9cdd9401207b2ce6af692d6f.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="582" data-original-width="454" height="400" src="https://i.pinimg.com/originals/3a/42/a8/3a42a8ef9cdd9401207b2ce6af692d6f.jpg" width="312" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">A cena mais icônica do filme chega na marca de
10 minutos: Ella Cinders vesga lendo um livro que ela roubara da meio-irmã
Lotta (Doris Baker). De acordo com o IMDb, o truque foi feito de maneira até
fácil: um pedaço de papel preto foi colocado num lado da câmera e os movimentos
de olho foram filmados, depois o pedaço de papel passava para a outra metade da
câmera e o movimento do outro olho era filmado. Quando juntadas as partes, a
mágica acontecia. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">The most iconic scene from the movie comes at the 10
minute mark: Ella Cinders cross-eyed over a book she had stolen from her
stepsister Lotta (Doris Baker).</span> <span style="font-size: large;">According to IMDb, the trick was
achieved in a rather easy way: a black piece of paper taped half of the camera
and the eye movement was recorded, then the piece of paper was moved to the
other half of the camera and the other eye movement was then filmed. When the
scene played combining the parts, the magic happened.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://64.media.tumblr.com/92dd3f18475e7780d2941afb68824b49/bcbd10c8892df8b8-60/s400x600/fc5faf61e53f04f7e8ded1cfc5c3c2fddd44522e.gifv" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="213" data-original-width="320" height="266" src="https://64.media.tumblr.com/92dd3f18475e7780d2941afb68824b49/bcbd10c8892df8b8-60/s400x600/fc5faf61e53f04f7e8ded1cfc5c3c2fddd44522e.gifv" width="400" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O conto da Cinderela vem de um livro de 1697
publicado por Charles Perrault, mas a história não surgiu da cabeça dele. O
conto em si é muito antigo e passava de geração em geração, mas Perrault foi o
primeiro a compilar contos como este e também o pi0neiro em duas outras coisas:
chamar a personagem de Cinderela – no francês original, “Cendrillon” – e a
mencionar que ela estava usando um sapatinho de cristal – um calçado bem
desconfortável. Mas o filme não derivou diretamente do conto de fadas.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The tale of Cinderella came from a 1697 book released
by Charles Perrault, but it didn’t come from his mind. The tale itself was very
old and passed through several generations, but Perrault was the first to
compile tales such as this one and also the first one to both name the
character Cinderella – in the original French, “Cendrillon” – and to mention
that she was wearing a glass slipper – a rather uncomfortable kind of footwear.
But the movie didn’t come directly from the fairy tale.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTR2_xGEgjTzHjq9uVI8ZSHxj8d5dY3xDmnBuLKa85rKpOmGh-aIIlY4RAApCmV-8PhXC0&usqp=CAU" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="249" data-original-width="203" height="400" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTR2_xGEgjTzHjq9uVI8ZSHxj8d5dY3xDmnBuLKa85rKpOmGh-aIIlY4RAApCmV-8PhXC0&usqp=CAU" width="326" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“O Prêmio de Beleza” foi adaptado de uma
tirinha de jornal! A tirinha foi publicada entre 1925 e 1961 e foi criada por Charles
Plumb e William M. Conselman do departamento de arte do Los Angeles Times. Um
dos roteiristas responsáveis pela adaptação foi Mervin LeRoy, um ex-ator de
vaudeville que se tornaria um prolífico diretor em Hollywood. A principal
diferença das tirinhas para o filme é que nas tirinhas Ella tem um irmão mais
novo chamado Blackie, que não aparece no filme.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“Ella Cinders” was adapted from a comic strip! The strip
was published from 1925 to 1961 in American newspapers and was created by
Charles Plumb and William M. Conselman from the Los Angeles Times art
department. One of the screenwriters responsible for the adaptation was Mervin
LeRoy, a former vaudevillian who would become a prolific director in Hollywood.
The main difference from the source material is that Ella has a kid brother,
Blackie, in the comic strip that is totally absent from the movie.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://www.toonopedia.com/ellacind.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="378" data-original-width="300" height="400" src="https://www.toonopedia.com/ellacind.jpg" width="317" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“O Prêmio de Beleza” foi distribuído pela First
National Pictures, produtora e distribuidora que existiu em Holywood entre 1917
e 1936. O diretor é Alfred E. Green, que entrou no cinema como ator em 1912 e
dirigiu seu primeiro longa em 1917. Green também aparece em “O Prêmio de Beleza”,
interpretando um diretor no estúdio. Já que estamos falando de diretores,
devemos mencionar que Frank Capra dirigiu a breve sequência em que Harry
Langdon faz uma participação especial.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">“Ella Cinders” was made by First National Pictures,</span>
<span style="font-family: georgia; font-size: large;">a producing and distribution company that existed in Hollywood between 1917 and
1936. The director is Alfred E. Green, who entered films as an actor in 1912
and directed his first feature in 1917. Green also appears in “Ella Cinders”,
playing a film director in the studio. Since we’re talking about directors, we
should mention that Frank Capra directed the brief sequence with Harry Langdon’s
cameo.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://silentology.files.wordpress.com/2014/11/ella-cinders-ad.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="565" height="400" src="https://silentology.files.wordpress.com/2014/11/ella-cinders-ad.jpg" width="283" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“O Prêmio de Beleza” é hoje o mais famoso filme
estrelando Colleen Moore. Com apenas 26 anos quando o filme foi rodado, Moore
já estava trabalhando no cinema desde os 18 e já havia influenciado milhões de “flappers”
a cortarem o cabelo igual ao dela. O produtor de “O Prêmio de Beleza”, John
McCormick, era marido de Moore na época, e Lloyd Hughes, que interpreta o par romântico,
já havia feito outros quatro filmes com Moore entre 1923 e 1926. Depois de uma
pausa na carreira quando o som chegou ao cinema, Moore fez seus últimos filmes
nos anos 1930, aposentando-se em 1934.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“Ella Cinders” is now the most famous movie starring
Colleen Moore. Only 26 when the film was shot, Moore already had been working
in films since she was 18 and had influenced millions of flappers to cut their
hair like hers. The producer of “Ella Cinders”, John McCormick, was Moore’s
husband at the time, and Lloyd Hughes, who plays the love interest, had
appeared in four other films with Moore between 1923 and 1926. After a career pause
when sound came to cinema, Moore made her final films in the early 1930s,
retiring in 1934.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/a137d14453216b984819431d80ff5c02/606a390494f1c715-6c/s400x600/0438fe289f0fdc56bbe983c522b4fd0d57615a10.pnj" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="564" data-original-width="400" height="400" src="https://64.media.tumblr.com/a137d14453216b984819431d80ff5c02/606a390494f1c715-6c/s400x600/0438fe289f0fdc56bbe983c522b4fd0d57615a10.pnj" width="284" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Em 2013, “O Prêmio de Beleza” foi selecionado
para ser preservado pela Biblioteca do Congresso norte-americano, em uma lista
chamada National Film Registry. A versão animada de “Cinderela”, feita por Walt
Disney em 1950, também foi selecionada para preservação. O conto foi adaptado
dezenas de vezes, mas “O Prêmio de Beleza” traz um retrato fresco da história
da moça pobre que triunfa e se mantém aprazível após quase um século de sua
estreia, em parte por causa da performance jovial de Colleen Moore como a sonhadora
Ella.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">In 2013, “Ella Cinders” was selected to be preserved
by the Library of Congress in their National Film Registry. The animated
version of “Cinderella”, made by Walt Disney in 1950, is also in the Registry.
The tale was adapted to the screen dozens of times, but “Ella Cinders” brings a
fresh portrait of the rags-to-riches story and remains enjoyable after almost a
century from its original release, in part because of Colleen Moore’s jovial performance
as the dreamer Ella.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 115%;"><span style="color: #cc0000;">This is my
contribution to the <b><a href="https://poppitytalksclassicfilm.wordpress.com/2023/12/29/the-party-like-its-1899-blogathon-has-begun/" target="_blank">Party Like It’s 1899 Blogathon</a></b>, hosted by Erica at Poppity
Talks Classic Film.</span></span></i><div><span style="color: #cc0000; font-family: Georgia, serif;"><span style="font-size: 20px;"><i><br /></i></span></span><div><i><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 115%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://poppitytalksclassicfilm.files.wordpress.com/2023/11/fred1899.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="612" data-original-width="466" height="400" src="https://poppitytalksclassicfilm.files.wordpress.com/2023/11/fred1899.png" width="305" /></a></div></span></i></div></div>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com2tag:blogger.com,1999:blog-5719905867000998397.post-23724318739328874462023-12-22T17:50:00.002-03:002023-12-22T17:50:34.839-03:00A Cicatriz (1976) / The Scar (1976)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Alguns nomes são incontornáveis quando
estudamos a História do Cinema - sim, com letras maiúsculas. Um destes nomes é
difícil de escrever: Krzysztof Kieslowski. Já havia assistido à sua Trilogia
das Cores - “A Liberdade é Azul” é meu favorito dos três –</span><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">
</span></i><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">mas eu não havia tido acesso a
seu trabalho anterior... até agora.<i style="mso-bidi-font-style: normal;"><br />
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
<span style="background: transparent;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">There are some names that you must stumble upon
when studying Film History - yes, with capital letters. </span></span></i></span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">One of these names is
hard to spell: Krzysztof Kieslowoski. I had already watched his Three Colors
trilogy - being “Blue” my favorite from the trio - but I hadn’t got access to
his earlier work… until now.</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BZDQ5YThmZWMtOTg3OS00YTQ3LTk2NzktNmE3ZjAzMzhlY2FlXkEyXkFqcGdeQXVyODY5Njk4Njc@._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="555" height="400" src="https://m.media-amazon.com/images/M/MV5BZDQ5YThmZWMtOTg3OS00YTQ3LTk2NzktNmE3ZjAzMzhlY2FlXkEyXkFqcGdeQXVyODY5Njk4Njc@._V1_.jpg" width="278" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Uma nova fábrica vai ser instalada na cidade de
Olecko e Stefan Bednarz (Fransciszek Pieczka) será o chefe. Mas não é sua
primeira vez em Olecko: ele já esteve lá vinte anos antes, quando se envolveu
em um incidente com sua esposa e um homem chamado Stasiu Lech. Ele encontra
Lech novamente, trabalhando na fábrica.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">A new factory is going to be installed in the city of Olecko
and Stefan Bednarz (Fransciszek Pieczka) will be the boss. But it’s not his
first time in Olecko: he had been there twenty years earlier, when he got
involved in an incident with his wife and a man named Stasiu Lech. He finds
Lech again, working at the factory.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQBEP-2HtboDYsVlLQdYgmQi1HU8E6MjEuYbM61ATB2VH_U_KmzyWpqqBDR43r-koJaRTE&usqp=CAU" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="175" data-original-width="289" height="242" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQBEP-2HtboDYsVlLQdYgmQi1HU8E6MjEuYbM61ATB2VH_U_KmzyWpqqBDR43r-koJaRTE&usqp=CAU" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Em Olecko, sem a esposa, Stefan é visitado pela
filha Eva (Joanna Ozerskkowska), uma jovem adulta de quem ele não é muito
próximo. Para adicionar conflito, muitas pessoas em Olecko são contra a
construção da fábrica, dizendo que as cidades e seus habitantes ficarão muito
melhor sem ela.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">In Olecko, without his wife, Stefan is visited by his
daughter Eva (Joanna Ozerszkowska), a young adult with whom he is not very
close. To add to the conflict, many people in Olecko are against the building
of the factory, claiming that the city and its inhabitants are better off
without it.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://images.mubicdn.net/images/film/36161/cache-38050-1564482964/image-w1280.jpg?size=800x" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://images.mubicdn.net/images/film/36161/cache-38050-1564482964/image-w1280.jpg?size=800x" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Este filme é baseado em um livro escrito pelo
próprio Kieslowksi, junto com Romuald Karas. Kieslowski já tinha muita
experiência com documentários em curta-metragem, enquanto Romuald era conhecido
como escritor – na verdade, “A Cicatriz” é o principal crédito de Karas no
cinema.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">This movie is based on a novel written by Kieslowski himself,
together with Romuald Karas.</span> Kieslowski had already a lot of experience
in documentary shorts, while Romuald was known as a writer – in fact, “The Scar”
is the main film credit for Karas.</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://upload.wikimedia.org/wikipedia/en/8/80/The_Scar_(1976_film).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="378" data-original-width="264" height="400" src="https://upload.wikimedia.org/wikipedia/en/8/80/The_Scar_(1976_film).jpg" width="279" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“A Cicatriz” recebeu dois prêmios no Festival
de Cinema Polonês: Melhor Ator e Prêmio Especial do Júri. Tem atualmente 86% de
aprovação dos críticos no Rotten Tomatoes, com 68% de aprovação dos usuários do
mesmo site.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“The Scar” received two awards at the Polish Film
Festival: Best Actor and the Special Jury Award. It holds an 86% Fresh rating from
critics on Rotten Tomatoes, with a 68% audience score.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://eefb.org/wp-content/uploads/2017/10/APR11-TheScar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="760" height="268" src="https://eefb.org/wp-content/uploads/2017/10/APR11-TheScar.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Kieslowski uma vez disse que “A Cicatriz” é um
filme de contradição, comprometimento e hipocrisia, e estes podem ser algumas
das várias cicatrizes às quais o título se refere. Outra possível cicatriz pode
ser o conflito entre o pessoal e o profissional sentido pelo protagonista ao
voltar para uma cidade onde ele viveu uma situação desagradável no passado –
algo que, apesar de nunca explicado, certamente deixou nele uma cicatriz.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Kieslowski once said that “The Scar” is a film of
contradiction, compromise and hypocrisy, and these can be some of the many of
the scars that the title refers to. Another possible scar may be the conflict
between personal and professional that the lead feels when he gets back to a
town where he lived an unpleasant situation in the past – one that, although
never explained, certainly left him “scarred”.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://scenebygreen.files.wordpress.com/2022/05/screenshotter-untitledfromottvideosonvimeo-9826.jpg?w=1024" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="482" data-original-width="800" height="241" src="https://scenebygreen.files.wordpress.com/2022/05/screenshotter-untitledfromottvideosonvimeo-9826.jpg?w=1024" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“A Cicatriz” é o filme mais fraco de Kieslowski
que vi até agora – além da Trilogia das Cores, também assisti este ano a “Amador”
(1979). Este também foi o primeiro longa do diretor a estrear nos cinemas. Bem,
nem todos os diretores são como Orson Welles e podem dizer que estrearam com
uma obra-prima.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="mso-spacerun: yes;"><span style="color: #cc0000;"> </span></span></span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“The Scar” is the weakest Kieslowski film I’ve seen - besides the Three
Colors trilogy, I also watched this year “Amador” (1979). It’s also his first
feature to receive a theatrical release. Well, not all directors are like Orson
Welles and can claim that they debuted with a masterpiece.</span></span><o:p></o:p></i></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com0tag:blogger.com,1999:blog-5719905867000998397.post-25858132464000962512023-12-16T18:32:00.006-03:002023-12-16T18:32:53.808-03:00Vendedor de Ilusões (1962) / The Music Man (1962)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Alguns musicais são tão bem sucedidos que
deixam uma marca na cultura pop. Isso significa que você acaba conhecendo as
músicas sem ter que assistir ao musical. Isso aconteceu comigo mais
recentemente quando assisti a “Vendedor de Ilusões” pela primeira vez: percebi
que já conhecia tantas das músicas de antemão. Apesar disso, ou talvez por
causa disso, me diverti muito.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Some musicals are so enormously successful that they
leave a mark in pop culture. This means you get to know the songs without
having to watch the musical. This happened to me most recently when I watched
“The Music Man” (1962) for the first time: I realized I already knew so many
songs in it beforehand. Nevertheless, or maybe because of this, I had a great
time.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/28fb211ce1f3a950fcbaaab7a44df999/6bd4107efeec2da9-12/s400x600/cb7fc6e6db6fee79351211129f1a0d3275aa8f3b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="593" data-original-width="400" height="400" src="https://64.media.tumblr.com/28fb211ce1f3a950fcbaaab7a44df999/6bd4107efeec2da9-12/s400x600/cb7fc6e6db6fee79351211129f1a0d3275aa8f3b.jpg" width="270" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O Professor Harold Hill (Robert Preston) é um
caixeiro viajante que chega a River City, Iowa. Ele vende instrumentos musicais
para formar bandas de jovens. Ele soluciona o problema de a cidade não ter uma
banda de jovens ao encontrar um inimigo que poderia ser combatido com a música:
a nova mesa de bilhar em um saloon.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Professor Harold Hill (Robert Preston) is a travelling
salesman who arrives in River City, Iowa. He sells musical instruments to form
boys’ bands. He solves the problem of the city not having a boys’ band by
finding an enemy that could be fought with music: the new pool table at a
saloon.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/f34fb07c626521af0b85fa8bdf384ca3/f3c06d7d8759522f-f5/s400x600/31e807803f08ab69c557808a1c53821c15f20df3.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="219" data-original-width="400" height="219" src="https://64.media.tumblr.com/f34fb07c626521af0b85fa8bdf384ca3/f3c06d7d8759522f-f5/s400x600/31e807803f08ab69c557808a1c53821c15f20df3.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">A organização de uma banda de jovens é,
obviamente, uma maneira do Professor Hill ganhar dinheiro fácil e sair da
cidade. Quase todos no local pareciam animados com a ideia da banda. Quase
todos, menos a bibliotecária local e também professora de piano, Marian Paroo
(Shirley Jones). Mas é exatamente a atenção dela que o Professor Hill quer
obter. Ele conseguirá sucesso em seu esquema e também conquistar a garota?<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The organization of the boys’ band is, of course, a
way for Professor Hill to earn easy money and leave the town. Almost everybody
from River City seemed to get excited about the band. Almost, except the local
librarian and also piano teacher Marian Paroo (Shirley Jones). But it’s exactly
her attention Professor Hill wants to win. Will he manage to be successful with
his scheme and also get the girl?</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/cad7758b9ae6b7a0cb3d0ca31157b688/05a541eef6b22f4f-b5/s540x810/16141d9cabc5d2ae8cd011150a81d90ca44eee17.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="386" data-original-width="540" height="286" src="https://64.media.tumblr.com/cad7758b9ae6b7a0cb3d0ca31157b688/05a541eef6b22f4f-b5/s540x810/16141d9cabc5d2ae8cd011150a81d90ca44eee17.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Creditado como “Ronny Howard”, lá está ele: o
futuro megaprodutor Ron Howard, aos oito anos de idade, como Winthrop Paroo,
irmão mais novo de Marian. Ele está muito bem no papel, e até consegue, de
maneira convincente, fingir falar com a língua presa. De acordo com o IMDB, seu
primeiro papel como ator foi em 1956 - quando ele tinha apenas dois anos de
idade - e a partir daí Ronny fez diversos filmes e séries de TV.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Credited as “Ronny Howard”, there he is: future mega
producer Ron Howard, aged eight, as Winthrop Paroo, Marian’s younger brother.
He is very good in the role, and even manages to believably fake a lisp.
According to IMDb, his first acting credit comes from 1956 - when he was just
two years old - and from them on Ronny appeared steadily on film and TV.<o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://www.rarefilmfinder.com/photos/5558/images/b7661cd7fde976a2aea4be8d6ad17f1e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="640" height="168" src="https://www.rarefilmfinder.com/photos/5558/images/b7661cd7fde976a2aea4be8d6ad17f1e.jpg" width="400" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Eu gostaria de destacar Pert Kelton, wue
interpreta a mãe de Marian e Winthrop. Ela também esteve na produção da Broadway
de “Vendedor de Ilusões”. Apesar de este ser seu mais conhecido papel no
cinema, esta filha de artistas do vaudeville apareceu em 47 filmes e programas
de TV, começando em 1929. Ela perdeu o papel de Alice Kramden na popular série
de TV “The Honeymooners” porque seu marido, o também ator Ralph Bell, entrou
para a lista negra durante a Ameaça Vermelha. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">I’d like to highlight Pert Kelton, who plays Marian’s
and Winthrop’s mother. She was also on the Broadway production of “The Music
Man”. Although this is her best known movie, this daughter of vaudevillians
appeared in 47 films and TV shows, starting in 1929. She lost the role of Alice
Kramden on the popular TV show “The Honeymooners” because her husband, also
actor Ralph Bell, was blacklisted during the Red Scare.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://4.bp.blogspot.com/-ZoKnFaJTlig/TjdojwNNH_I/AAAAAAAAAzM/s1u2DfMtwtU/s704/the+music+man+7.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="704" height="309" src="https://4.bp.blogspot.com/-ZoKnFaJTlig/TjdojwNNH_I/AAAAAAAAAzM/s1u2DfMtwtU/w400-h309/the+music+man+7.jpeg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Também dignos de nota são os quatro membros do
Conselho Escolar que se tornam um quarteto cantor - eles são todos muito
talentosos! Eles são The Buffalo Bills e também estiveram na produção da
Broadway. Eles foram os Medalhistas Internacionais de 1950 da Sociedade para
Preservação e Encorajamento de Quartetos Cantores de Barbearia nas Américas.
Tendo começado a carreira em 1947 na cidade de Buffalo - de onde vem o nome do
quarteto - o grupo se manteve ativo até 1967 e seu concerto de despedida foi no
famoso Hotel Waldorf-Astoria de Nova York. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">Also worth noticing is the four School Board members
who become a singing quartet – they’re all very talented! They are The Buffalo
Bills and were also on the Broadway production. They were </span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: "Georgia","serif"; font-size: 15.0pt; letter-spacing: .25pt; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">the 1950
International Champion Medalist Quartet of the S.P.E.B.S.Q.S.A., the Society
for the Preservation and Encouragement of Barber Shop Quartet Singing in America. </span><o:p></o:p></i></span><i style="text-align: left;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; letter-spacing: 0.25pt; line-height: 115%;"><span style="color: #cc0000;">Having started in 1947 in the city of Buffalo -
from where the group’s name came - they were active until 1967 and did their
farewell concert at the famous Waldorf-Astoria Hotel in New York.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: "Georgia","serif"; font-size: 15.0pt; letter-spacing: .25pt; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BMTQ4MDIyMTM1OV5BMl5BanBnXkFtZTcwODEwMDUwNA@@._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="645" data-original-width="800" height="323" src="https://m.media-amazon.com/images/M/MV5BMTQ4MDIyMTM1OV5BMl5BanBnXkFtZTcwODEwMDUwNA@@._V1_.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: "Georgia","serif"; font-size: 15.0pt; letter-spacing: .25pt; line-height: 150%; mso-bidi-font-family: Helvetica;"><span style="color: #cc0000;">O cérebro por trás de “Vendedor de Ilusões”
é Meredith Wilson. Ele criou River City tendo como inspiração sua cidade natal,
Mason City, Iowa. Tendo sido flautista na banda de John Philip Sousa e na Orquestra
Filarmônica de Nova York, Wilson já havia composto trilhas sonoras para filmes
como “O Grande Ditador” (1940) e “Pérfida” (1941). Depois de uma década de
trabalho no rádio, Wilson presenteou o mundo com “Vendedor de Ilusões”, tendo
trabalhado no musical por oito anos e composto 40 músicas. A peça foi um
sucesso com Robert Preston como o protagonista, um papel que a Warner Bros não
queria que ele repetisse por não ser um nome conhecido. Meredith Wilson ameaçou
cancelar a produção por completo se Preston não ficasse com o papel
protagonista, o que aconteceu depois que nomes como Frank Sinatra, Bring Crosby
e Cary Grant recusaram o papel.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The brain behind “The Music Man” is Meredith Wilson.
He based River City on his hometown, Mason City, Iowa. A former flutist at both
John Philip Sousa’s band and the New York Philharmonic Orchestra, Wilson had
written scores for films such as “The Great Dictator” (1940) and “The Little
Foxes” (1941). After a decade’s work on radio, Wilson gifted “The Music Man” to
the world, after writing 40 songs in eight years of work. The play was a hit
with Robert Preston as the lead, a role that Warner Bros was not willing to let
him repeat on film, because Preston wasn’t a bankable star. Meredith Wilson
threatened to cancel the production completely if Preston wasn’t cast as the
lead, which happened after names like Frank Sinatra, Bing Crosby and Cary Grant
refused the role.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2F2.bp.blogspot.com%2F-TouJ-Vm4Cw8%2FWR1UGoGlZ4I%2FAAAAAAABu2s%2F63-f0D3gjEkYReOgs7KREZZn8Lfl8k79ACLcB%2Fs1600%2FMeredith_wilson2.png&f=1&nofb=1&ipt=4f95d07b69527daefc8c948ac2642e2510fef653496c2deff0e3884d871a6d60&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="311" data-original-width="248" height="400" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2F2.bp.blogspot.com%2F-TouJ-Vm4Cw8%2FWR1UGoGlZ4I%2FAAAAAAABu2s%2F63-f0D3gjEkYReOgs7KREZZn8Lfl8k79ACLcB%2Fs1600%2FMeredith_wilson2.png&f=1&nofb=1&ipt=4f95d07b69527daefc8c948ac2642e2510fef653496c2deff0e3884d871a6d60&ipo=images" width="319" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“Vendedor de Ilusões”, a peça da Broadway,
ganhou o prêmio Tony de Melhor Musical em 1957, vencendo “Amor, Sublime Amor”
na disputa. Quando foram feitas as adaptações para o cinema, o jogo virou: em
1962 “Amor, Sublime Amor” ganhou 11 Oscars e um ano depois “Vendedor de Ilusões”
venceu apenas um Oscar, Melhor Trilha Sonora Adaptada.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“The Music Man”, the Broadway production, won the Best
Musical Tony Award in 1957, beating “West Side Story”. When they became movies,
the game changed: in 1962 “West Side Story” won 11 Oscars and one year later “The
Music Man” won only one, Best Music, Scoring of Music, Adaptation or Treatment.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/53f51ab50ad52071eec0677d48b8b69e/f3c06d7d8759522f-4b/s1280x1920/f242ed156d2445bd16c7f2bb73b1ecd14a0902f1.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="356" data-original-width="650" height="219" src="https://64.media.tumblr.com/53f51ab50ad52071eec0677d48b8b69e/f3c06d7d8759522f-4b/s1280x1920/f242ed156d2445bd16c7f2bb73b1ecd14a0902f1.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O intervalo entre as músicas é mínimo e isto,
junto com alguns truques de iluminação, ajudaram a criar uma aura teatral no
filme. Quando a música para por um período maior, sequências icônicas acontecem,
como aquela em que o Professor Hill fala com Marian sobre ela colecionar “ontens
vazios” (“empty yesterdays”). <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The interval between songs is minimal and this,
together with some lighting tricks, help create a stagey aura in the film. When
the music stops for a little longer, iconic sequences happen, such as the one
where Professor Hill talks to Marian about her collecting “empty yesterdays”.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/a2202d3ed5cbb35847a5facb0d8caa13/f3c06d7d8759522f-d8/s1280x1920/785c31d3d0acb50be017bb02b4e35e15e6dffa03.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="356" data-original-width="650" height="219" src="https://64.media.tumblr.com/a2202d3ed5cbb35847a5facb0d8caa13/f3c06d7d8759522f-d8/s1280x1920/785c31d3d0acb50be017bb02b4e35e15e6dffa03.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Os 151 minutos de duração do filme fluíram
muito bem. “Vendedor de Ilusões” foi o terceiro maior sucesso de bilheteria de
1962, depois de “O Mais Longo dos Dias” e “Lawrence da Arábia”. Ele merece um
lugar entre os mais divertidos musicais já feitos, e também um lugar entre os
melhores filmes produzidos pela agora centenária Warner Bros.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The 151 minutes flew by. “The Music Man” was the third
highest-grossing film of 1962, behind “The Longest Day” and “Lawrence of Arabia”.
It deserves a spot among the most entertaining musicals ever made, and also
among the best movies released by the now centenarian Warner Bros studio.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">This is my contribution to the <b><a href="https://silverscenesblog.blogspot.com/2023/12/the-100-years-of-warner-brothers.html" target="_blank">100 Years of Warner Brothers blogathon</a></b>, hosted by Constance and Diana at Silver Scenes. </span><span style="color: #1d2228;"><o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCvmstoLzLZ5TVNunbbGgh3CjfFIs2pk3zt8MRYT9MAfMbjFm2TXabjijkltjn2CKFJtQEaYo42mVLetor7rCWw3e-Xx9fr66A2RLTCZTuyN8j0shrXdg_6N8JUlUM54sv5xmdw7j5FgvfDuAlWSVQNHLbf2GgQ8BfE6gGX6SaPZe6bVkK3ugvRc076x4/s320/WB-Banner11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="215" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCvmstoLzLZ5TVNunbbGgh3CjfFIs2pk3zt8MRYT9MAfMbjFm2TXabjijkltjn2CKFJtQEaYo42mVLetor7rCWw3e-Xx9fr66A2RLTCZTuyN8j0shrXdg_6N8JUlUM54sv5xmdw7j5FgvfDuAlWSVQNHLbf2GgQ8BfE6gGX6SaPZe6bVkK3ugvRc076x4/w269-h400/WB-Banner11.jpg" width="269" /></a></i></div><p></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com3tag:blogger.com,1999:blog-5719905867000998397.post-85536881898126593392023-12-02T18:41:00.002-03:002023-12-02T18:41:39.349-03:00The Mystery of the Mary Celeste aka Phantom Ship (1935)<p style="text-align: justify;"><span style="color: #cc0000; font-family: georgia;"><span style="font-size: medium;"> </span><span style="background-color: transparent; text-align: justify;"><span style="font-size: large;">Ele pode ser mais conhecido por interpretar o papel
principal de “Drácula” (1931), mas Bela Lugosi fez 113 filmes numa carreira que
durou quatro décadas. Ele fez seu primeiro filme mudo na sua Hungria natal em
1917, depois de ter feito 172 peças em palcos húngaros. De seu primeiro filme
até o último - “Plano 9 do Espaço Sideral” (1957) - ele criou personagens
variados, muitas vezes sinistros, como o marinheiro na produção britânica de
1935 “The Mystery of the Mary Celeste”.</span></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; line-height: 150%;"><span style="color: #cc0000; font-family: georgia; font-size: large;"> <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="color: #cc0000; font-family: georgia; font-size: large;"><span lang="EN-US" style="background: transparent; line-height: 150%;">He may be better known for playing the title role in
“Dracula” (1931), but Bela Lugosi appeared in 113 films in a career that
spanned four decades.</span> He made his first silent film in his native
Hungary in 1917, after appearing in 172 plays on the Hungarian stages. From
this first film until the very last - “Plan 9 From Outer Space” (1957) - he
created varied characters, often sinister, like the sailor in the 1935 British
production “The Mystery of the Mary Celeste”.</span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: white; line-height: 150%;"><o:p><span style="color: #cc0000; font-family: georgia; font-size: large;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000; font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7mZxaKUOujmZpO2peQKxklaz9Z6vo3zdpBhsGz9uO5YUlbmqEeoR3Vn5TEgI-wCb0mBz_6lN4uyu-3tva484l2TWkt9K9VtC-5nXehmaByXp5QWN4WCTPIPDsf_VJ8qBQqkvwV5MaaZIeIu5-E9b9VSoPQVpUv2pCObMr-nWrMujZCPNwsd_ZaypAzfc/s726/mary-celeste-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="408" data-original-width="726" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7mZxaKUOujmZpO2peQKxklaz9Z6vo3zdpBhsGz9uO5YUlbmqEeoR3Vn5TEgI-wCb0mBz_6lN4uyu-3tva484l2TWkt9K9VtC-5nXehmaByXp5QWN4WCTPIPDsf_VJ8qBQqkvwV5MaaZIeIu5-E9b9VSoPQVpUv2pCObMr-nWrMujZCPNwsd_ZaypAzfc/w400-h225/mary-celeste-1.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; line-height: 150%;"><span style="color: #cc0000; font-family: georgia; font-size: large;">Um porto em Nova York, 1872. O capitão Bnjamin
Briggs (Arthur Margetson) está prestes a zarpar com seu navio, o Mary Celeste,
levando consigo sua noiva, Sarah (Shirley Grey), que será a única mulher no
navio. A notícia do noivado deles incomoda o amigo de Benjamin, o também
capitão Jim Morehead (Clifford McLaglen). <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; line-height: 150%;"><o:p><span style="color: #cc0000; font-family: georgia; font-size: large;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="color: #cc0000; font-family: georgia; font-size: large;"><span lang="EN-US" style="background: transparent; line-height: 150%;">A harbor in New York, 1872. Captain Benjamin Briggs
(Arthur Margetson) is ready to sail with his ship, the Mary Celeste, taking as
personal cargo his fiancée, Sarah (Shirley Grey), who will be the only woman in
the ship. The news about their engagement upset Benjamin’s friend, also
Captain, Jim Morehead (Clifford McLaglen).</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; line-height: 150%;"><o:p><span style="color: #cc0000; font-family: georgia; font-size: large;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000; font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRQX-BR_81TLEvC1X-qEPaTu2m7uJiOGcjto9XWZ2l50zcGw0KP0rMZy2ngC2fqWttHu6y0X-1M6RGhRYMHKC3octSYppdFszdTSKyxfqMbX7V6-dRBIV4WUR7nodh4gbusCxiuGMKpNjP3lSeLlyUyBN0UEutaGIPt_SI5mB3qPf3-eVYiGAhyeER5M8/s722/mary-celeste-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="722" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRQX-BR_81TLEvC1X-qEPaTu2m7uJiOGcjto9XWZ2l50zcGw0KP0rMZy2ngC2fqWttHu6y0X-1M6RGhRYMHKC3octSYppdFszdTSKyxfqMbX7V6-dRBIV4WUR7nodh4gbusCxiuGMKpNjP3lSeLlyUyBN0UEutaGIPt_SI5mB3qPf3-eVYiGAhyeER5M8/w400-h225/mary-celeste-2.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="line-height: 150%;"><span style="color: #cc0000; font-family: georgia; font-size: large;">Entre os homens escolhidos para fazer parte da tripulação do
Capitão Briggs temos A. Gotlieb (Bela Lugosi), um marinheiro de um braço só que
havia desaparecido por um tempo mas magicamente reapareceu nas docas uma noite.
Apesar de sua presença sinistra, a viagem começa como planejado, até mesmo com
marinheiros cantando. Não demora para que a primeira briga a bordo aconteça,
algo que horroriza Sarah. A verdade é que o Capitão Briggs não tem a melhor
tripulação porque os bons marinheiros se recusaram a zarpar com o Mary Celeste.
<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000; font-family: georgia; font-size: large;"><span style="line-height: 150%;"> <i><br />
</i></span><i><span lang="EN-US" style="background: transparent; line-height: 150%;">Among the men chosen to be part of Captain Briggs’ crew there
is one-armed A. Gotlieb (Bela Lugosi), a mate who had disappeared for a while
before magically reappearing at the docks one night. Despite his eerie
presence, the voyage begins as planned, even with singing sailors. It doesn’t
take long for the first on-deck fight to happen, something that horrifies
Sarah. The truth is that Captain Briggs doesn’t have the best crew because the
good men refused to sail in the Mary Celeste.</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; line-height: 150%;"><o:p><span style="color: #cc0000; font-family: georgia; font-size: large;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000; font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpd335z3TsIvd0OGkm3SfaosC9g_FSNXVMD-d-XfGxN_l6bjOBlF-4-u1Q8gmg0iyuaKGsvG6E-PDw2xUhmTbplXscZSBXjlp04WUZKYsA-qUPQh4ziNgNVi6a0aOYCn5mgAzxotCWVRLLt4QRom6b7TJgSqD9_goFT1cOBEvujMUCCn8OsjaAqa74iQk/s728/mary-celeste-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="728" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpd335z3TsIvd0OGkm3SfaosC9g_FSNXVMD-d-XfGxN_l6bjOBlF-4-u1Q8gmg0iyuaKGsvG6E-PDw2xUhmTbplXscZSBXjlp04WUZKYsA-qUPQh4ziNgNVi6a0aOYCn5mgAzxotCWVRLLt4QRom6b7TJgSqD9_goFT1cOBEvujMUCCn8OsjaAqa74iQk/w400-h223/mary-celeste-3.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; line-height: 150%;"><span style="color: #cc0000; font-family: georgia; font-size: large;">Quando o Mary Celeste zarpa, a morte está a
bordo do navio. É isso que Gotlieb - que não é quem diz ser - diz para Sarah
quando as coisas começam a ficar estranhas a bordo. E elas ficaram estranhas
mesmo: o filme é baseado em um mistério real! Em cinco de dezembro de 1872, o
Mary Celeste, um navio norte-americano, foi encontrado à deriva e completamente
abandonado perto das ilhas Açores. Nenhum sinal dos dez passageiros a bordo - o
que incluía o Capitão Briggs, sua esposa, sua filha de dois anos e sete
marinheiros -, algo que levantou hipóteses sobre o destino destes
desaparecidos. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000; font-family: georgia; font-size: large;"><i><span style="line-height: 150%;"><br />
</span></i><i><span lang="EN-US" style="background: transparent; line-height: 150%;">When the Mary Celeste sails, death goes on board in the ship.
This is what Gotlieb - who isn’t who he says he is - says to Sarah when things
start to get weird on board. And they sure did: the film is based on a
real mystery! On December 5<sup>th</sup>, 1872, the Mary Celeste, an American
ship, was found drifting and derelict near the Azores islands. No sign of the
ten passengers inside - including Captain Briggs, his wife, two-year old
daughter and seven crew members -, something that arose hypothesis about the
fate of those people.</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; line-height: 150%;"><o:p><span style="color: #cc0000; font-family: georgia; font-size: large;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000; font-family: georgia; font-size: large;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fclassic-horror.com%2Ffiles%2Fimages%2Fmaryceleste.review.jpg&f=1&nofb=1&ipt=fa4cd73bc0985bcc9dcecb3c13e6f38af80c7370e668902867152f6ff57cfbbb&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="280" data-original-width="180" height="400" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fclassic-horror.com%2Ffiles%2Fimages%2Fmaryceleste.review.jpg&f=1&nofb=1&ipt=fa4cd73bc0985bcc9dcecb3c13e6f38af80c7370e668902867152f6ff57cfbbb&ipo=images" width="257" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; line-height: 150%;"><span style="color: #cc0000; font-family: georgia; font-size: large;">O mistério logo serviu de inspiração para obras
de ficção. Em 1884, um aspirante a escritor de 25 anos de idade chamado Arthur
Conan Doyle escreveu um conto sobre o navio Marie Celeste e o intrigante
desaparecimento da sua tripulação no meio do oceano. A história fez sucesso e
ajudou a espalhar mitos sobre o navio, incluindo a maneira como seu nome era
grafado. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; line-height: 150%;"><o:p><span style="color: #cc0000; font-family: georgia; font-size: large;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; line-height: 150%;"><span style="color: #cc0000; font-family: georgia; font-size: large;">The mystery soon became inspiration for fictional
works. In 1884, a 25-year old aspiring writer named Arthur Conan Doyle wrote a
short story about the ship Marie Celeste and the intriguing disappearance of
its crew mid-ocean. The story was a success and helped spread myths about the
ship, including about the spelling of its name.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; line-height: 150%;"><o:p><span style="color: #cc0000; font-family: georgia; font-size: large;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000; font-family: georgia; font-size: large;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse2.mm.bing.net%2Fth%3Fid%3DOIP.zeVLa1Uh7h_BKVidUdqZugHaGO%26pid%3DApi&f=1&ipt=494ddb36066c4d1565849c282721739d7ad0f6b4ca93339d55b6dfc94e53f4fd&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="398" data-original-width="474" height="336" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse2.mm.bing.net%2Fth%3Fid%3DOIP.zeVLa1Uh7h_BKVidUdqZugHaGO%26pid%3DApi&f=1&ipt=494ddb36066c4d1565849c282721739d7ad0f6b4ca93339d55b6dfc94e53f4fd&ipo=images" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; line-height: 150%;"><span style="color: #cc0000; font-family: georgia; font-size: large;">A história inspirou duas peças para o rádio nos
anos 1930, e uma peça de teatro inspirada numa dessas peças de rádio em 1949. Foi
também contada no curta-metragem de 1938 “The Snip That Died” e até mesmo num
episódio do Doctor Who de 1965.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; line-height: 150%;"><o:p><span style="color: #cc0000; font-family: georgia; font-size: large;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; line-height: 150%;"><span style="color: #cc0000; font-family: georgia; font-size: large;">The story inspired two radio plays in the 1930s, and a
theater play based on one of those radio plays in 1949. It was also chronicled
in the 1938 short film “The Snip That Died” and even featured in a Doctor Who
episode in 1965.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; line-height: 150%;"><o:p><span style="color: #cc0000; font-family: georgia; font-size: large;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000; font-family: georgia; font-size: large;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Falchetron.com%2Fcdn%2FThe-Mystery-of-the-Marie-Celeste-images-2e0788d2-926e-49ff-8eda-f6193d8cb66.jpg&f=1&nofb=1&ipt=a87197c923ba1ed07b5887a5eee6426a9668eb10a067663e5826aa4d7affbd3e&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="509" height="400" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Falchetron.com%2Fcdn%2FThe-Mystery-of-the-Marie-Celeste-images-2e0788d2-926e-49ff-8eda-f6193d8cb66.jpg&f=1&nofb=1&ipt=a87197c923ba1ed07b5887a5eee6426a9668eb10a067663e5826aa4d7affbd3e&ipo=images" width="255" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; line-height: 150%;"><span style="color: #cc0000; font-family: georgia; font-size: large;">E foi, obviamente, a inspiração para o filme “The
Mystery of the Mary Celeste”. Com apenas 62 minutos de duração, não é uma
obra-prima, mas diverte. Foi um dos primeiríssimos filmes lançados pela
recém-nascida - fundada em 1934 - Hammer Productions Ltd. Por causa disso, o
filme gera curiosidade e interessa a quem quer completar a filmografia de
Lugosi e da Hammer, e também quem se intriga com o desaparecimento do Mary Celeste
há mais de 150 anos - um mistério ainda não solucionado.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; line-height: 150%;"><o:p><span style="color: #cc0000; font-family: georgia; font-size: large;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; line-height: 150%;"><span style="color: #cc0000; font-family: georgia; font-size: large;">And it was, of course, the inspiration for the film “The
Mystery of the Mary Celeste”. At only 62 minutes long, it’s not a masterpiece,
but it can be enjoyed. It was one of the very first films issued by the newborn
- founded in 1934 - Hammer Productions Ltd. Because of this, the movie is a
curious piece, one that interests Lugosi and Hammer completists, as well as
those intrigued by the disappearance of the Mary Celeste over 150 years ago - a
mystery not yet solved.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; line-height: 150%;"><o:p><span style="color: #cc0000; font-family: georgia; font-size: large;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; line-height: 150%;"><span style="color: #cc0000; font-family: georgia; font-size: large;">“The Mystery of the Mary Celeste” can be watched on <b><a href="https://www.youtube.com/watch?v=JDMsOZKtLWE " target="_blank">YouTube.</a></b><o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: white; line-height: 150%;"><o:p><span style="color: #cc0000; font-family: georgia; font-size: large;"> </span></o:p></span></i></p>
<i><span lang="EN-US" style="background: transparent; line-height: 115%;"><span style="color: #cc0000; font-family: georgia; font-size: large;">This is my
contribution to the Fourth Hammer and Amicus blogathon, hosted by Gill and
Barry at <b><a href="https://weegiemidget.wordpress.com/2023/12/02/news-its-day-two-for-celebrating-the-fourth-hammer-and-amicus-blogathon/" target="_blank">Realweegiemidget Reviews</a></b> and <b><a href="https://cinematiccatharsis.blogspot.com/2023/12/the-hammer-amicus-blogathon-iv-is-here.html" target="_blank">Cinematic Catharsis</a></b>. </span></span></i><div><span style="color: #cc0000; font-family: georgia; font-size: large;"><i><br /></i></span><div><i><span lang="EN-US" style="background: white; line-height: 115%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://weegiemidget.files.wordpress.com/2023/07/hammer-amicus-iv_torture-garden.jpg?w=462&h=312" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="311" data-original-width="462" height="269" src="https://weegiemidget.files.wordpress.com/2023/07/hammer-amicus-iv_torture-garden.jpg?w=462&h=312" width="400" /></span></a></div><span style="color: #cc0000; font-family: georgia; font-size: medium;"><br /></span></span></i></div></div>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com4tag:blogger.com,1999:blog-5719905867000998397.post-4087529169337891822023-11-24T23:38:00.001-03:002023-12-05T23:17:35.161-03:00Por Que Deu a Louca no Sr R? (1970) / Why Does Herr R. Run Amok (1970) / Warum läuft Herr R. Amok (1970)?<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">ESTA CRÍTICA TEM
SPOILERS</span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">THIS REVIEW HAS SPOILERS</span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Meu primeiro contato com a obra do diretor alemão Rainer Werner
Fassbinder se deu há mais ou menos dez anos, quando alguns de seus filmes foram
exibidos no Cine Conhecimento do Canal Futura. Da seleção, meu favorito foi seu
último filme, “O Desespero de Veronika Voss” (1982). Eu teria outro encontro
com Fassbinder quando cursei uma disciplina de mestrado e lemos um texto
bem-humorado assinado por ele, e também assistimos à sua obra-prima “Ali: o
Medo Devora a Alma” (1974). Foi uma surpresa que um de seus filmes tenha sido
exibido na TV recentemente, por isso eu o gravei e aqui ei-lo: um dos oito (!) filmes
que ele dirigiu no ano de 1970, “Por Que Deu a Louca no Sr. R?”<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">My first contact with the works of German director Rainer
Werner Fassbinder was about ten years ago, when some of his films were shown on
a TV program called Cine Conhecimento (Kino Knowledge, in a free but accurate
translation) at the channel Futura. Of the bunch, my favorite was his very last
film, “Veronika Voss” (1982). I would encounter Fassbinder again when I took a
class at a master’s degree program and we read a very humorous text written by
him and later watched his masterpiece “Ali: Fear Eats the Soul” (1974). It was
a surprise that one of his films was shown on TV recently, so I recorded it and
here it is: one of eight (!) films he directed in the year of 1970, “Why Does
Herr R. Run Amok?”</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BMTMxNTA2NDAyOV5BMl5BanBnXkFtZTYwNzg3MDY5._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="475" data-original-width="271" height="400" src="https://m.media-amazon.com/images/M/MV5BMTMxNTA2NDAyOV5BMl5BanBnXkFtZTYwNzg3MDY5._V1_.jpg" width="228" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O filme começa com um grupo de quatro amigos
contando piadas. Algumas são engraçadas, outras nem tanto. Um dos amigos, o
único que não contou nenhuma piada, se separa do grupo, virando à esquerda
enquanto os outros seguem à direita. O homem é Herr (Sr.) R. (Kurt Raab), um
desenhista técnico que espera por um novo posto de trabalho. Ele vive em
Munique com sua esposa, Frau (Sra.) R. (Lilith Ungerer), e filho, Amadeus
(Amadeus Fengler). <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">The film begins with a group of four friends telling jokes.
Some are funny, others not so much. One of the friends, the only who didn’t
tell a single joke, parts from the group, going left while the others go right.
The man is Herr (Mr) R. (Kurt Raab), a draughtsman waiting for a new job
position. He lives in Munich with his wife Frau (Mrs) R. (Lilith Ungerer) and
son, Amadeus (Amadeus Fengler).</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://i.pinimg.com/736x/00/ab/fc/00abfc99e1add00765d054c173503ccd.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="404" data-original-width="550" height="294" src="https://i.pinimg.com/736x/00/ab/fc/00abfc99e1add00765d054c173503ccd.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Quando estão caminhando pelas ruas, indo a uma
reunião na escola do filho, Frau R. fala sobre uma conhecida que surtou depois
de uma explosão de gás: foi a gota d’água para ela. Durante a reunião, quem fala
é só Frau R., enquanto a câmera foca em Herr R. e podemos vê-lo dissociando da
conversa. Sua gota d’água está próxima.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">While they are strolling in the streets, going to a meeting
at their son’s school, Frau R. talks about an acquaintance who freaked out
after a gas explosion: it was her last straw. During the meeting, only Frau R.
speaks, while the camera focuses on Herr R. and we can sense him dissociating.
His last straw is near.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSgL9D4BetxA9mUb4kIRGab7DOSMjxwWy4i0w&usqp=CAU" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="194" data-original-width="259" height="300" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSgL9D4BetxA9mUb4kIRGab7DOSMjxwWy4i0w&usqp=CAU" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Eu pensei que iria dar a louca em Herr R. durante
um almoço no seu trabalho. Ele fica bêbado e fala sem parar sobre seus colegas,
enfurecendo sua esposa. Então eu percebi: este filme é POR QUE deu a louca no
Sr. R. Vê-lo louco seria a última coisa que veríamos: o filme todo serviria
para nos mostrar as razões.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">I first thought that Herr R. would run amok during a
get-together from his work. He gets drunk and talks aimlessly about his
co-workers, making his wife mad. Then I realized: this movie is WHY Herr R. ran
amok. Seeing him running amok would be the last thing we see: the whole movie
would first show us the reasons.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://www.filmlinc.org/wp-content/uploads/2015/07/Herr11.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="391" data-original-width="640" height="244" src="https://www.filmlinc.org/wp-content/uploads/2015/07/Herr11.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Há alguns momentos muito datados, que são
entretanto divertidos por serem o retrato de uma época. Por exemplo: quando
nosso herói entra numa loja e pergunta sobre uma música que ele ouvira no
domingo passado no rádio. Ele descreve a canção em detalhes, causando riso numa
das vendedoras. Hoje, com aplicativos como Shazam e Spotify, os problemas dele
diminuiriam bastante.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">There are very dated moments, that are funny nonetheless for
being the portrait of a time. For instance: when our hero enters a store and
asks about a song he heard that past Sunday in the radio. He describes the song
extensively, causing one of the clerks to laugh. Today, with apps like Shazam
and Spotify, his trouble would diminish a lot.</span><o:p></o:p></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"></span></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><a href="https://m.media-amazon.com/images/M/MV5BMmQ0MWE0ZTEtZTA4MC00ZDgzLTk1ZDYtMGUzNDRmNmY3N2U3XkEyXkFqcGdeQXVyNjAwODA4Mw@@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="356" data-original-width="445" height="320" src="https://m.media-amazon.com/images/M/MV5BMmQ0MWE0ZTEtZTA4MC00ZDgzLTk1ZDYtMGUzNDRmNmY3N2U3XkEyXkFqcGdeQXVyNjAwODA4Mw@@._V1_.jpg" width="400" /></a></span></i></span></div><p></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"></span></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"></span></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Outros momentos datados não são tão divertidos.
Quando Amadeus fica brevemente perdido na floresta, a avó do menino culpa a
mãe, Frau R., dizendo que a única missão dela era ficar de olho no garoto. Esta
é a única sequência com a mãe de Herr R., e por isso ela nos parece egoísta e
muito crítica com sua nora. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Other dated moments are not so amusing. When Amadeus gets
briefly lost in the woods, his grandmother blames his mother, <span style="mso-spacerun: yes;"> </span>Frau R., saying that it was her only duty to
keep an eye on the boy. This is the only bit with Herr R.’s mother, and because
of that she passes to us as being selfish and overly critical of her
daughter-in-law.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p></o:p></span></i></span><i style="mso-bidi-font-style: normal;"><a href="https://infinimata.com/img/dvd/2006/B0002VEVDO-005.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://infinimata.com/img/dvd/2006/B0002VEVDO-005.jpg" width="400" /></a></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Outros momentos são tão frescos que poderiam
ter sido filmados hoje. Um exemplo: uma das amigas de Frau R. conta-lhe que ela
está indo esquiar e alugou uma casinha porque é mais barato que ficar num hotel
– exatamente o tipo de coisa que seria dita pelos defensores do Airbnb! Não é à
toa que é aí que dá a louca no Sr. R!<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Other moments are fresh as new. One example: one of Frau R.’s
friends tells her that she is going skiing and rented a little house because
it’s cheaper than staying in a hotel- exactly the kind of thing the defenders
of Airbnb would say!</span> It’s not by chance that it is there that Herr R.
runs amok!</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://pbs.twimg.com/media/DS-8_FwV4AAi_5K.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="800" height="293" src="https://pbs.twimg.com/media/DS-8_FwV4AAi_5K.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Este filme é assinado por Fassbinder e Michael
Fengler. Entretanto, a atriz Hanna Schygulla, que interpreta rapidamente a personagem
Hanna, declarou que Fassbinder teve pouco a ver com o filme, sendo este feito
quase totalmente por Michael Fengler, uma declaração mais tarde confirmada por
Fengler. Este foi o primeiro filme de Fengler, que mais tarde se dedicou aos
trabalhos como roteirista e produtor.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: wtransparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">The film is signed by Fassbinder and Michael Fengler.
However, actress Hanna Schygulla, who plays the character Hanna in a brief
performance, claimed that Fassbinder had little to do with the shooting of the
film, and it was made almost solely by Michael Fengler, a claim later confirmed
by Fengler. This was Fengler’s first film and he later served more as
screenwriter and producer.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://cdn-3.cinemaparadiso.co.uk/film-stills/491010-18018-clp-720.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="720" height="225" src="https://cdn-3.cinemaparadiso.co.uk/film-stills/491010-18018-clp-720.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Esta não é uma comédia, como o título poderia
nos levar a crer. É um drama, mas não um drama intenso, e muitos podem até chama-lo
de um filme chato. No final das contas, “Por Que Deu a Louca no Sr. R.?” é
sobre os perigos da rotina, ou, como diz o velho ditado: “all work and no play make Jack a dull boy” (“só trabalho e
nenhuma diversão fazem de Jack um garoto sem-graça”).<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><br />
</span></span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;">This is not a comedy, as the title could make us believe.
It’s a drama, but not intense drama, and many could even call it a boring
movie. In the last stance, “Why Does Herr R. Run Amok?” is about the dangers of
routine, or, as the old saying goes: “all work and
no play makes Jack a dull boy”.</span></span><span style="color: #1d2228;"><o:p></o:p></span></span></i></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com0tag:blogger.com,1999:blog-5719905867000998397.post-27338236665873936952023-11-08T22:31:00.002-03:002023-11-08T22:31:56.826-03:00A Divorciada (1930) / The Divorcee (1930)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">As heroínas dos filmes feitos antes do Código
Hays eram quase sempre personagens femininas admiráveis. Navegando em um mundo
masculino e tendo como principal arma seu corpo, elas eram sensuais, ousadas e
provocantes. E estes três adjetivos são perfeitos para descrever a protagonista
de “A Divorciada”, de 1930.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The heroines of pre-Code films were almost always
remarkable female characters. Navigating a man’s world having as their main
weapon their body, they were sensual, bold and provocative. And these three
adjectives are perfect to describe the lead in 1930’s “The Divorcee”.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/bffa73b037ae42dc0b6eadca90f5e119/606f89368430dbaa-5c/s250x400/d30e04330a29c21f3ae0c8f8c5f22a0b9470bee2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="273" data-original-width="185" height="400" src="https://64.media.tumblr.com/bffa73b037ae42dc0b6eadca90f5e119/606f89368430dbaa-5c/s250x400/d30e04330a29c21f3ae0c8f8c5f22a0b9470bee2.jpg" width="271" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Jerry (Norma Shearer) é cobiçada por muitos
homens, mas o primeiro a pedi-la em casamento é Ted (Chester Morris). Ela
aceita o pedido e eles se casam. Três anos após o casamento, eles parecem viver
em perfeita harmonia... até que Janice (Mary Doran), uma velha conhecida de
Ted, chega à festa de bodas do casal.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Jerry (Norma Shearer) is wanted by many men but the
first to propose is Ted (Chester Morris). She accepts the proposal and they get
married. Three years after the wedding, they seem to be perfectly happy… until
Janice (Mary Doran), an old acquaintance of Ted’s, arrives at the party being
thrown for their anniversary.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/3320d6aab5335f35a2b77f8a8201ba65/08b7fde9a5f9c82f-8a/s400x600/e82f241546cc2b03d576c44ab80e54494b13d84f.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="228" data-original-width="268" height="340" src="https://64.media.tumblr.com/3320d6aab5335f35a2b77f8a8201ba65/08b7fde9a5f9c82f-8a/s400x600/e82f241546cc2b03d576c44ab80e54494b13d84f.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Quando ela descobre sobre Ted e Janice, Jerry
encontra consolo nos braços do melhor amigo de Ted, Don (Robert Montgomery),
que gosta dela mais do que como amiga. Ela então pede o divórcio de Ted,
experimentando uma liberdade inédita como a nova ex-esposa.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">When she learns about Ted and Janice, Jerry finds
consolation with Ted’s best friend Don (Robert Montgomery), who likes her more
than as a friend. She then proceeds with the divorce from Ted, experiencing
unmatched freedom as the new ex-wife.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/d5d72482725bc4571f32ca57f2522f84/ea31e86e1ac91cad-b5/s540x810/c98f27cdc20bea8ca071c2c4b8694f231819cf2f.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="440" data-original-width="540" height="326" src="https://64.media.tumblr.com/d5d72482725bc4571f32ca57f2522f84/ea31e86e1ac91cad-b5/s540x810/c98f27cdc20bea8ca071c2c4b8694f231819cf2f.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Em suas aventuras, Jerry re-encontra Paul
(Conrad Nagel), que era apaixonado por ela quando ela anunciou seu noivado com
Ted. Paul ficou tão chateado com a notícia que se embebedou e se envolveu em um
acidente de carro que deixou o rosto de Dorothy (Helen Johnson) desfigurado.
Paul então se casou com Dorothy movido pela culpa. Quando ele re-encontra
Jerry, descobrimos que Paul nunca a esqueceu, e agora vê a oportunidade de
deixar Dorothy e se casar com Jerry.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">In her adventures, Jerry re-encounters Paul (Conrad
Nagel), who was in love with her when she announced her engagement to Ted. Paul
got so upset with the news that he got drunk and got involved in a car accident
that left Dorothy (Helen Johnson) with a disfigured face. Paul then married
Dorothy out of guilt. When he meets Jerry again, we learn that Paul never
forgot her, and now sees the opportunity to leave Dorothy and marry Jerry.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/2cc375c48c4db61f9d84a0487f63f3dc/ea31e86e1ac91cad-c5/s540x810/86e1a9b91ea9116e925e724de3ff0e4e362605ab.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="440" data-original-width="540" height="326" src="https://64.media.tumblr.com/2cc375c48c4db61f9d84a0487f63f3dc/ea31e86e1ac91cad-c5/s540x810/86e1a9b91ea9116e925e724de3ff0e4e362605ab.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Em certo momento, depois de ser perguntada o
que havia de errado com ela, Jerry responde: “Só estou tentando me agarrar à
maravilhosa latitude do ponto de vista de um homem”. Ela está claramente
falando sobre os dois pesos e duas medidas a partir dos quais homens e mulheres
são julgados. Para um homem, um caso extraconjugal “não significa nada”, mas se
é a mulher que trai, ela é julgada sem piedade. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">At one point, after being asked what was wrong with
her, Jerry answers: “I’m just trying to hang onto the marvelous latitude of the
man’s point of view”. She is clearly talking about the double standard from
which men and women are judged. For a man, an affair “doesn’t mean a thing”,
but if it’s the woman who is cheating, she is judged without mercy.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/b2e82bdc982163e5dcce67e9e6b70cec/ea31e86e1ac91cad-ed/s540x810/3df212a94f5de132bd168f3ad7e4c716d4bced3b.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="440" data-original-width="540" height="326" src="https://64.media.tumblr.com/b2e82bdc982163e5dcce67e9e6b70cec/ea31e86e1ac91cad-ed/s540x810/3df212a94f5de132bd168f3ad7e4c716d4bced3b.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Jerry não é uma mulher à frente do seu tempo,
mas é certamente uma mulher do seu tempo: taxas de divórcio estavam aumentando
no final dos anos 1920 e começo dos anos 1930. Menos de 15 anos depois de as
sufragistas conseguirem o direito ao voto, mais e mais mulheres estavam vivendo
vidas mais livres e se livrando de casamentos nos quais não eram felizes. A
taxa de divórcios cairia durante a Grande Depressão – como é comum em tempos de
dificuldades – e aumentariam novamente no final da década. Em 1937, um marco
legal: o chamado Matrimonial Causes Act permitiu que mulheres pedissem
divórcios nos mesmos termos que os homens, embora mantendo a necessidade de
demonstrar que um dos três aconteceu: adultério, crueldade ou abandono.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Jerry isn’t a woman ahead of her time, but she’s
certainly a woman of her time: divorce rates were on the rise in the late 1920s
and early 1930s. Less than 15 years after the suffragettes got their right to
vote, more and more women were leading freer lives and getting out of marriages
in which they were unhappy. The divorce rate would go down during the Great
Depression – as it is common for times of hardship – and go up again by the end
of the decade. In 1937, a legal mark: the Matrimonial Causes Act allowed women
to petition for divorce on the same terms of men, although keeping the
requirement to demonstrate that one of the three happened: adultery, cruelty or
desertion.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/a8346056bd64e7ef29706bbbe8d4e9be/08b7fde9a5f9c82f-85/s400x600/443683155f148a94d4f7d4bb57e55c157a1c914c.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="228" data-original-width="268" height="340" src="https://64.media.tumblr.com/a8346056bd64e7ef29706bbbe8d4e9be/08b7fde9a5f9c82f-85/s400x600/443683155f148a94d4f7d4bb57e55c157a1c914c.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O divórcio estava dominando tanto as conversas
que serviu de mote para outras obras de arte. Um deles foi a
peça-que-virou-filme “Vítimas do Divórcio” (1932), hoje mais lembrado por ser a
estreia de Katharine Hepburn nas telas. Nele, um homem chamado Hilary (John Barrymore)
volta para casa depois de passar 15 anos num hospício e descobre que sua esposa
Meg (Billie Burke) pediu o divórcio e está prestes a se casar novamente. Em
alguns momentos mais emocionante que “A Divorciada”, este filme poderia ter
ditado os termos para normalizar o divórcio no cinema se o Código Hays não
tivesse atrapalhado.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Divorce was so much dominating the talks that it
inspired more works of art. One of them was the play-turned-into-film “A Bill
of Divorcement” (1932), today best remembered for being Katharine Hepburn’s
screen debut. In it, a man named Hilary (John Barrymore) comes home after
spending 15 years in an asylum and finds out that his wife Meg (Billie Burke)
has divorced him and it about to remarry. In some moments more engaging than “The
Divorcee”, this film could have set the tone to normalize divorce on screen if
there hadn’t been the Hays Code.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BOWZjZjk0NjctMGVkNi00ZTcxLWI5NTktNjNjZTA0MzViMjg1XkEyXkFqcGdeQXVyMzg1ODEwNQ@@._V1_FMjpg_UX1000_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1367" data-original-width="1000" height="400" src="https://m.media-amazon.com/images/M/MV5BOWZjZjk0NjctMGVkNi00ZTcxLWI5NTktNjNjZTA0MzViMjg1XkEyXkFqcGdeQXVyMzg1ODEwNQ@@._V1_FMjpg_UX1000_.jpg" width="293" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“A Divorciada” foi baseado no romance
best-seller “Ex-Wife”, de Ursula Parrott, que vendeu os direitos de adaptação
para a MGM pela incrível quantia de 20 mil dólares. A própria Ursula era
divorciada quando o livro foi publicado, anonimamente, em 1929, e ainda iria
casar de novo e se separar outras três vezes. Hoje basicamente esquecida,
Ursula Parrott estava sempre nas manchetes das colunas de fofocas e seus livros
e contos foram lidos por milhões. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“The Divorcee” was based on the best-seller “Ex-Wife”,
by Ursula Parrott, who sold the movie rights to MGM for the amazing sum of
$20,000. Ursula herself was a divorcee when the book was published,
anonymously, in 1929, and would go on to remarry and divorce three more times.
Now basically forgotten, Ursula Parrott was always on the headlines of gossip
columns and her novels and short stories was read by millions.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSPSNWbI-Piw6tN5xzRjVvGpFn2NZ2GGkfj98Fq2p4aShgtkpDJ7Oz8s4tO4b1SLXR_llY&usqp=CAU" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="189" data-original-width="267" height="283" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSPSNWbI-Piw6tN5xzRjVvGpFn2NZ2GGkfj98Fq2p4aShgtkpDJ7Oz8s4tO4b1SLXR_llY&usqp=CAU" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #cc0000; font-family: georgia;">Ursula Parrott</span></td></tr></tbody></table><br /></span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Norma Shearer ganhou o Oscar de Melhor Atriz em
1931 por sua performance em “A Divorciada” – uma performance que não foi
particularmente desafiadora, tirando um ousado monólogo. A primeira escolhida
para o papel fora Joan Crawford, que para sempre rivalizou Shearer por causa da
perda do papel.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Norma Shearer won the Best Actress Oscar in 1931 for
her performance in “The Divorcee” – a performance that wasn’t particularly
challenging, except for a racy monologue. The first choice to play the role had
been Joan Crawford, who became forever bitter with Shearer for having gotten
the part instead.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/dbf1fcb4359dfb6c9fa40e1aff56678f/08b7fde9a5f9c82f-b9/s400x600/0fade5ce205c0028e8f566372e4d335b22588de0.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="228" data-original-width="268" height="340" src="https://64.media.tumblr.com/dbf1fcb4359dfb6c9fa40e1aff56678f/08b7fde9a5f9c82f-b9/s400x600/0fade5ce205c0028e8f566372e4d335b22588de0.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“A Divorciada” é puro ouro pré-Código Hays.
Vindo de um livro escandaloso, não é um filme tão escandaloso assim, mas ainda
assim um filme que não teria sido feito a partir de 1934. Mais do que isso, ele
traz uma protagonista feminina livre, que pode servir de exemplo de ousadia
para a heroína da época.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“The Divorcee” is pure pre-Code gold. Coming from a
scandalous book, it’s not such a scandalous film, but still a film that wouldn’t
have been made from 1934 onwards. More than that, it brings a free female lead,
one that can serve as an example of boldness for the pre-Code heroine.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">This is my contribution to the <b><a href="https://clamba.blogspot.com/2023/11/the-cmba-presents-2023-fall-blogathon.html" target="_blank">Blogathon and the Beast,</a></b> hosted by the Classic Movie Blog Association.</span><span style="color: #1d2228;"><o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZpll4KdJvNJRXKiZNLq-VLXYnz3pklnZtpol2PhhV9ByzGKR9s4c46_FTo0QCOvTVK1PHIven2zF9XiO9eei2M6yZS5jEATbrgN0NtOiIVP8-LaSCVwCwEIec1CLgzAAOrlaeaCyjhq3UXbguILOaEM5D_VB-DlP0vrLZ__aqQ_JhOJgIYhgxUS90Tm1E/s320/Jekyll.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="248" data-original-width="320" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZpll4KdJvNJRXKiZNLq-VLXYnz3pklnZtpol2PhhV9ByzGKR9s4c46_FTo0QCOvTVK1PHIven2zF9XiO9eei2M6yZS5jEATbrgN0NtOiIVP8-LaSCVwCwEIec1CLgzAAOrlaeaCyjhq3UXbguILOaEM5D_VB-DlP0vrLZ__aqQ_JhOJgIYhgxUS90Tm1E/w400-h310/Jekyll.png" width="400" /></a></i></div><p></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com3tag:blogger.com,1999:blog-5719905867000998397.post-40857777948747654102023-10-28T18:36:00.001-03:002023-10-28T18:36:38.595-03:00Aquele Gato Danado (1965) / That Darn Cat! (1965)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Todo mundo sabe que gatos de estimação gostam
de trazer coisas estranhas para seus donos como presentes. Normalmente eles
trazem ratos ou passarinhos mortos, às vezes uma pedra ou uma folha. Mas o que
aconteceria se seu gato trouxesse para casa um relógio de pulso com a palavra “AJUDA”
gravada? Então uma odisseia se inicia, ou pelo menos é exatamente isso que
aconteceu com Hayley Mills em seu último filme feito para a Disney, “Aquele
Gato Danado!” (1965). <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">It is well-known that pet cats like to bring weird
stuff to their owners as gifts. Usually they bring dead mice or birds,
sometimes a rock or a leaf. But what if your cat brought home one night a
wristwatch with the word “HELP” engraved? Then an odyssey starts, or at least
that’s exactly what happened to Hayley Mills in her last Disney film, “That
Darn Cat!” (1965).</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fm.media-amazon.com%2Fimages%2FM%2FMV5BNzVlMGQ0MzgtNWM0NC00MWI1LThlYzUtNTkwZDVhOGVmZjI3XkEyXkFqcGdeQXVyMDUyOTUyNQ%40%40._V1_.jpg&f=1&nofb=1&ipt=d7031d1d21fd3726c90a3c95d6710a3131ba1cc8a8c5d108113c7eb2cc3b25dc&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="527" height="400" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fm.media-amazon.com%2Fimages%2FM%2FMV5BNzVlMGQ0MzgtNWM0NC00MWI1LThlYzUtNTkwZDVhOGVmZjI3XkEyXkFqcGdeQXVyMDUyOTUyNQ%40%40._V1_.jpg&f=1&nofb=1&ipt=d7031d1d21fd3726c90a3c95d6710a3131ba1cc8a8c5d108113c7eb2cc3b25dc&ipo=images" width="264" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Houve um grande roubo a um banco. Não há
mistério sobre quem foi o culpado: foi Iggy (Frank Gorshin), o primeiro humano
que vemos no filme. Ele e seu cúmplice Dan (Neville Brand) estão mantendo uma
funcionária do banco, Margaret Miller (Grayson Hall), refém em uma casa. <span style="mso-spacerun: yes;"> </span>O gato da família Randall, DC, enquanto
zanzava uma noite, entra na tal casa e Margaret, desesperada para ser
resgatada, troca a coleira do gato por seu relógio de pulso.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">There has been a big robbery in a bank. There is no
mystery about who did it: it was Iggy (Frank Gorshin), the first human we see
in the film. He and his accomplice Dan (Neville Brand) are keeping a bank
teller, Margaret Miller (Grayson Hall), hostage in a house. The Randall family
cat, DC, while wandering one night, enters said house and Margaret, desperate
for a rescue, changes the cat’s collar for her wristwatch.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://i.pinimg.com/originals/84/5d/32/845d3211aad570388e6e104b814751ac.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="597" data-original-width="800" height="299" src="https://i.pinimg.com/originals/84/5d/32/845d3211aad570388e6e104b814751ac.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Na primeira vez em que encontramos Patti (Hayley
Mills) e seu amigo Canoe Henderson (Tom Lowell), eles estão voltando do cinema
e ela está reclamando sobre todos os filmes de “surfistas” que são exatamente
um igual aos outros - em uma crítica não tão sutil a todos os filmes de “praia”
feitos na época, dirigidos por William Asher para a American International
Pictures e estrelando uma ex-estrela da Disney, Annette Funicello. Para manter
as coisas ainda mais estranhas para os surfistas, a garota do tempo na TV que fala
sobre condições meteorológicas na praia usa um traje de banho.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The first time we meet Patti (Hayley Mills) and her
friend Canoe Henderson (Tom Lowell), they are coming back from the movies, and
she’s complaining about all the “surfer” movies that are exactly the same – in
a not so subtle critic to all the “beach” movies being made at the time, directed
by William Asher for American International Pictures and starring a former
Disney star, Annette Funicello. To keep things weirder for surfers, the weather
girl on TV who talks about meteorological conditions at the beach wears a
bathing suit.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/b4a9b716517370ca58bae29c8c7d821e/02d4d7facbb14ee0-83/s400x600/7bf2d3b73b525c1b33dfd0395b6d915e502f8906.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="296" data-original-width="400" height="296" src="https://64.media.tumblr.com/b4a9b716517370ca58bae29c8c7d821e/02d4d7facbb14ee0-83/s400x600/7bf2d3b73b525c1b33dfd0395b6d915e502f8906.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Patti finalmente encontra o relógio de pulso em
DC e, imaginando que o grito de socorro veio de Margaret, ela vai ao FBI e fala
diretamente com o agente Zeke Kelso (Dean Jones), que é então escolhido para a
investigação - apesar de ser alérgico a gatos! Jones é excelente fingindo
espirros e até mesmo uma voz fanhosa. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Patti eventually finds the wristwatch on DC and,
imagining the cry for help came from Margaret, goes to the FBI and speaks
directly to agent Zeke Kelso (Dean Jones), who is then assigned the case – no
matter if he’s allergic to cats! Jones is excellent faking sneezes and even a
twangy voice.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/df997cf0fbab2bcba818268a37275331/02d4d7facbb14ee0-2a/s400x600/7d259f3d1809398737f764d80036f13dd3fc9971.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="296" data-original-width="400" height="296" src="https://64.media.tumblr.com/df997cf0fbab2bcba818268a37275331/02d4d7facbb14ee0-2a/s400x600/7d259f3d1809398737f764d80036f13dd3fc9971.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Na casa dos Randall encontramos Patti e sua
irmã mais velha Ingrid (Dorothy Provine), porque os pais das meninas estão
viajando. Na casa ao lado vivem os MacDougalls (Elsa Lanchester e William
Deamrest), e a senhor MacDougall adora espionar os vizinhos. Os MacDougalls,
junto com Canoe e a breve aparição do Sr Hofstedder (Ed Wynn), servem de alívio
cômico. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">In the Randall house we can find Patti and her older
sister Ingrid (Dorothy Provine), because the girls’ parents are travelling.
Next door lives the MacDougalls (Elsa Lanchester and William Demarest) and Mrs
MacDougall loves to spy on her neighbors. The MacDougalls, together with Canoe
and the brief appearance of Mr Hofstedder (Ed Wynn), serve as comic relief.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BZjVmYjg5MWQtZGE5OC00MWY2LTk0ZGItNTdkZjBmZWIwYzg1XkEyXkFqcGdeQXVyOTc5MDI5NjE@._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="720" height="267" src="https://m.media-amazon.com/images/M/MV5BZjVmYjg5MWQtZGE5OC00MWY2LTk0ZGItNTdkZjBmZWIwYzg1XkEyXkFqcGdeQXVyOTc5MDI5NjE@._V1_.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Observando Kelso trabalhar, Patti diz: “Você é
bem jovem para fazer este tipo de trabalho, não é?”, ao que ele responde: “Eu
não sou realmente tão jovem”. Quando o filme estreou, Dean Jones tinha 34 anos
e estava fazendo seu primeiro filme para a Disney, enquanto Hayley Mills tinha
19 e fazia seu sexto e último filme para o estúdio. Um romance entre eles não
seria improvável naqueles tempos - você se lembra de Audrey Hepburn e Gary
Cooper, com 30 anos de diferença de idades, em <b><a href="https://criticaretro.blogspot.com/2016/05/amor-na-tarde-love-in-afternoon-1957.html " target="_blank">“Amor na Tarde” (1957)</a></b>? - mas
felizmente isso não acontece aqui. Tom Lowell, que interpreta Canoe, tem apenas
cinco anos a mais que Hayley Mills.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">While observing Kelso doing his work, Patti says:
“You’re very young to be doing this kind of work, aren’t you?” To which he
answers: “I’m really not that young”. When the movie was released, Dean Jones
was 34, making his first film for Disney, and Hayley Mills was 19, making her
sixth and final film for Disney. A romance between them wouldn’t be improbable
for the standards of the time – remember Audrey Hepburn and Gary Cooper with
their 30-year age gap in <b><a href="https://criticaretro.blogspot.com/2016/05/amor-na-tarde-love-in-afternoon-1957.html " target="_blank">“Love in the Afternoon” (1957)</a></b>? – but luckily this
doesn’t happen here. Tom Lowell, who plays Canoe, is only five years older than
Hayley Mills.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/36a86dd7b6a13eb6e9c8fb9c879e127c/6553b50c66592550-e5/s400x600/c926270a9576ba09575bd7f3cc6f1c728ca7da52.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="320" height="400" src="https://64.media.tumblr.com/36a86dd7b6a13eb6e9c8fb9c879e127c/6553b50c66592550-e5/s400x600/c926270a9576ba09575bd7f3cc6f1c728ca7da52.gifv" width="366" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O roteiro foi escrito por The Gordons e Bill
Walsh, baseado num livro da dupla, “Undercover Cat”. The Gordons eram na
verdade veteranos autores de livros de mistério e crime, e muitas mudanças
foram necessárias no roteiro para fazer um filme de família da Disney. Um
exemplo de mudança feita da página para as telas: Patti era a irmã mais velha
no livro, e tinha como pares românticos Gregory (Roddy McDowall) e o agente Kelso.
<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The screenplay was written by The Gordons and Bill
Walsh, based on a book by the duo, “Undercover Cat”. The Gordons were actually
seasoned writers of mystery and crime books, and several changes of tone were
necessary in the script to make a Disney family movie. One example of change
made from page to screen: Patti was the older sister in the book, and romanced
both Gregory (Roddy McDowall) and agent Kelso.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/c1c7287b6a1c9644e1cd4b9829ba9710/378b98457ad2efc9-2c/s400x600/f43b32843e58a40fcf55914adc766d173fabe571.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="459" data-original-width="400" height="400" src="https://64.media.tumblr.com/c1c7287b6a1c9644e1cd4b9829ba9710/378b98457ad2efc9-2c/s400x600/f43b32843e58a40fcf55914adc766d173fabe571.jpg" width="349" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O diretor foi Robert Stevenson, que dirigiu clássicos
da Disney como “Meu Melhor Companheiro” (1957) e “Mary Poppins” (1964). Por seu
trabalho, ele é considerado um dos diretores principais na Era de Ouro dos live-actions
da Disney. Antes de trabalhar na Disney, Stevenson já tinha uma carreira de 25
anos no cinema e na televisão, tendo também dirigido sete episódios de “Alfred
Hitchcock Apresenta”.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The director was Robert Stevenson, who directed Disney
classics such as “Old Yeller” (1957) and “Mary Poppins” (1964). For his work,
he is considered one of the key directors in the Golden Age of Disney
live-action movies. <span style="mso-spacerun: yes;"> </span>Before working for
Disney, Stevenson had already a 25-year career on film and television, having
also directed seven episodes of “Alfred Hitchcock Presents”.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/61c869d072cb0959f1b3ab5f25c95927/02d4d7facbb14ee0-b0/s400x600/b280c34667cb097388c26c9dfdc9b20b90ff52a6.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="296" data-original-width="400" height="296" src="https://64.media.tumblr.com/61c869d072cb0959f1b3ab5f25c95927/02d4d7facbb14ee0-b0/s400x600/b280c34667cb097388c26c9dfdc9b20b90ff52a6.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">No começo do filme, junto com os créditos
iniciais, há uma balada cantada por Bobby Darin. Só a Disney conseguiria fazer
uma canção sobre “aquele gato danado”. A canção foi composta pelos irmãos
Sherman, Robert e Richard, que foram também compositores em “Mary Poppins” e
muitos outros filmes da Disney. Apesar de Robert ter falecido em 2012, as
canções deles continuam a ser usadas em filmes, como no remake de 2016 de “Mogli”.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">In the beginning, together with the opening credits,
there is a ballad sung by Bobby Darin. Only Disney could pull of a song about
“that darn cat”. The song was composed by the Sherman brothers, Robert and
Richard, who were also composers in “Mary Poppins” and many other Disney films.
Despite Robert having passed away in 2012, their songs keep being used in film,
such as the 2016 remake of “The Jungle Book”.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/2116dc967ea4b5f4783838105ec660fe/02d4d7facbb14ee0-e3/s400x600/dbc10414aa04bc46a0963276fddea7a57d7fda97.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="296" data-original-width="400" height="296" src="https://64.media.tumblr.com/2116dc967ea4b5f4783838105ec660fe/02d4d7facbb14ee0-e3/s400x600/dbc10414aa04bc46a0963276fddea7a57d7fda97.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Um momento muito divertido para fãs de cinema
mudo como eu: ao falar sobre o relatório de Kelso, o chefe dele diz que as
únicas coisas que estavam faltando eram “Chester Conklin e as Bathing Girls de
Mack Sennett”! Adolescentes da época provavelmente não entenderiam a piada - ao
menos que eles tivessem assistido a muitas reprises de curtas mudos na TV -,
mas seus pais com certeza entenderiam! <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">A very funny remark for silent film buffs like me:
when talking about Kelso’s report, his boss said that the only things missing
were “Chester Conklin and the Mack Sennett Bathing Girls”! Teenagers of the
time probably wouldn’t understand the reference – unless they watched reruns of
silent shorts on TV –, but their parents certainly would!</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/258ae91dc1b4243ef65d80ffedc5da00/3f5e8e3726fe1638-72/s400x600/14243bfceec498e84bbafabda3e413fdba2b9b66.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="280" data-original-width="400" height="280" src="https://64.media.tumblr.com/258ae91dc1b4243ef65d80ffedc5da00/3f5e8e3726fe1638-72/s400x600/14243bfceec498e84bbafabda3e413fdba2b9b66.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Esta não é a primeira nem a última vez que
jovens ficaram no caminho de uma gangue em filmes da Disney. O exemplo que me
vem logo à cabeça quando falo sobre esse caso é “A Gangue da Tortinha de Maçã”
(1975). Esta também não é a primeira nem a última vez que um gato atrapalhou
planos de criminosos, pois a mesma coisa acontece na animação francesa “Um Gato
em Paris” (2010). “Aquele Gato Danado” não é um filme exclusivo, e tudo é
bastante previsível, mas é um filme divertido e certamente traz as alegrias - e
as surpresas - de ter um amigo felino por perto.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">This isn’t the first nor the last time that Disney
youngsters got in the way of a gang. The example I think about quicker when
talking about this trope is “The Apple Dumpling Gang” (1975). This also isn’t
the first nor the last time that a cat screwed criminals’ plans, as the same happens
in the French animation “A Cat in Paris” (2010). “That Darn Cat” isn’t a unique
movie, and things are quite predictable, but it’s a fun movie and it certainly
brings out the joys - and the surprises - of having a feline friend around. <o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">This is my contribution to the Friends Fur Life
blogathon, hosted by Rachel at <b><a href="https://hamlette.blogspot.com/2023/10/the-friends-fur-life-blogathon.html" target="_blank">Hamlette’s Soliloquy</a></b> and Quiggy at <b><a href="https://midnitedrive-in.blogspot.com/2023/10/friends-fur-life-blogathon-arrives.html" target="_blank">The Midnite Drive-In</a></b>.</span><span style="color: #1d2228;"><o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8xiuc8lBmpv9_U57RNL3xzJR62neaOT4ePHQseGMeJQwa8-V5aekRbsJJpeUJmD36IH5dYJg-pTjTk5yA9b2426YfVP_wvMRt9xGOMAp3cm-YMY59E3S_VRqXMEjMYgkFxn4fRq3YBtalG8R8SyT5yuBs0eDwDsXAoOy1f7ZnCzmfrzPKOQzn/s320/Friends%20Fur%20Life%20Blogathon%205.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="320" height="335" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8xiuc8lBmpv9_U57RNL3xzJR62neaOT4ePHQseGMeJQwa8-V5aekRbsJJpeUJmD36IH5dYJg-pTjTk5yA9b2426YfVP_wvMRt9xGOMAp3cm-YMY59E3S_VRqXMEjMYgkFxn4fRq3YBtalG8R8SyT5yuBs0eDwDsXAoOy1f7ZnCzmfrzPKOQzn/w400-h335/Friends%20Fur%20Life%20Blogathon%205.png" width="400" /></a></i></div><p></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com5tag:blogger.com,1999:blog-5719905867000998397.post-84362200567728128812023-10-25T22:17:00.000-03:002023-10-25T22:17:08.770-03:00O Almoço sobre a Relva (1959) / Picnic on the Grass (1959) / Le Déjeuner sur l’herbe (1959)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Foi pura coincidência o fato de eu ter
escolhido dois filmes de Jean Renoir nas minhas resoluções de Ano Novo de 2023.
Felizmente, nenhum de seus filmes é igual a seus predecessores. Seu longa de
estreia, “A Filha da Água” (1925), é quase um drama Griffithiano, enquanto o
filme seguinte, <b><a href="https://criticaretro.blogspot.com/2023/04/nana-1926.html" target="_blank">“Nana” (1926)</a></b>, é mais próximo das produções de Erich von
Stroheim. Hoje focamos numa comédia sobre sexo, um filme que escandalizaria
Hollywood se fosse feito lá. Felizmente, “O Almoço sobre a Relva” é uma
produção 100% francesa.</span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">It was totally by chance that I chose two films by
Jean Renoir in my 2023 New Year’s resolutions. Luckily, none of his films are
like their predecessors. His debut feature, “The Whirlpool of Fate” (1925), is
almost a Griffithian drama, while the following film, <b><a href="https://criticaretro.blogspot.com/2023/04/nana-1926.html" target="_blank">“Nana” (1926)</a></b>, is closer
to Erich von Stroheim’s films. Today we focus on a sex comedy, one that would
scandalize Hollywood if it was made there. </span></span></i><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Luckily, “Picnic
on the Grass” is a 100% French production.</span><o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><a href="https://medias.unifrance.org/medias/89/44/76889/format_page/le-dejeuner-sur-l-herbe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="400" src="https://medias.unifrance.org/medias/89/44/76889/format_page/le-dejeuner-sur-l-herbe.jpg" width="300" /></a></span></div><span style="color: #cc0000;"><span style="line-height: 150%;"><br /><div style="font-family: Georgia, serif; font-size: 15pt; text-align: justify;"><span style="background-color: transparent; font-size: 15pt;">O famoso biólogo Etienne Alexis (Paul Meurisse) é
um entusiasta da inseminação artificial - para animais e humanos. Por causa de
um artigo escrito por ele, a camponesa Nénette (Catherine Rouvel) vai visitá-lo
em sua mansão. Ela quer ter um bebê sem a necessidade de um homem para
engravidar, mas acaba sendo contratada como a nova camareira do biólogo.</span></div>
<div style="text-align: justify;"><span style="font-family: Georgia, serif; font-size: 20px;"><br /></span></div>
</span><i style="mso-bidi-font-style: normal;"><div style="text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">The famous biologist Etienne Alexis (Paul
Meurisse) is an enthusiast of artificial insemination - for animals and humans.
Because of an article written by him, the peasant girl Nénette (Catherine
Rouvel) goes visit him in his mansion. She wants to have a baby without needing
a man to get pregnant, but she ends up as the biologist’s new maid.</span></i></div></i></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSKSq_edWlMmL9uNvARDGT_vpWaGmDPF8sJEw&usqp=CAU" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="194" data-original-width="259" height="300" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSKSq_edWlMmL9uNvARDGT_vpWaGmDPF8sJEw&usqp=CAU" width="400" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><br /></span></div><span style="color: #cc0000;"><span style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><div style="text-align: justify;"><span style="font-size: 15pt;">Etienne está prestes a se casar com sua prima, a chefe das
bandeirantes Marie-Charlotte (Ingrid Nordine). Para celebrar o noivado, eles
organizam um piquenique numa tarde, completo com a presença de jornalistas para
tirar fotos. Depois de uma ventania durante o piquenique, as coisas ficam
estranhas, mas Nénette tem sua chance de conversar com Etienne.</span></div><o:p></o:p></span></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><br />
<i style="mso-bidi-font-style: normal;"><span style="background: transparent;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Etienne is about to get married to his cousin, the chief of
Girl Scouts Marie-Charlotte (Ingrid Nordine). To celebrate their engagement,
they do a picnic one afternoon, complete with the presence of journalists to
take photos. After a windstorm during the picnic, things get weird, but Nénette
gets her chance to talk to Etienne.</span><o:p></o:p></span></i></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><a href="https://www.programme-tv.net/imgre/fit/~2~program~65726237c146b81d.jpg/630x355/quality/80/le-dejeuner-sur-l-herbe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="355" data-original-width="630" height="225" src="https://www.programme-tv.net/imgre/fit/~2~program~65726237c146b81d.jpg/630x355/quality/80/le-dejeuner-sur-l-herbe.jpg" width="400" /></a></span></div><span style="color: #cc0000;"><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br /><div style="text-align: justify;"><span style="background-color: transparent; font-size: 15pt;">“O Almoço sobre a Relva” é um filme sobre SEXO - o que
significa que tal filme não teria sido feito na Hollywood da época, com o
código Hays ainda mandando que Doris Day e Rock Hudson ficassem em camas
separadas em suas comédias românticas. Além das aventuras de Etienne e Nénette
na segunda metade do filme, depois da ventania um casal fica extremamente
excitado. Este casal havia usado inseminação artificial para produzir um filho
super-inteligente que acabou desprezando seus pais simplórios.</span></div>
</span></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">“Picnic on the Grass” is all about SEX - which
means that such a film wouldn’t have been made in Hollywood in that same time,
with the Hays Code still mandating that Doris Day and Rock Hudson couldn’t
share a bed in their romantic comedies. Besides Etienne’s and Nénette’s
shenanigans in the second half of the film, after the windstorm a couple
becomes extra horny. This couple had used artificial insemination to produce a
super-intelligent son who ended up despising his mundane parents.</span></span></i><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BNjRhYmZhNDEtMTI5ZC00YjgxLTg0ODAtMTc1MmE3ZDRmZjJmXkEyXkFqcGdeQXVyOTc5MDI5NjE@._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="432" data-original-width="720" height="240" src="https://m.media-amazon.com/images/M/MV5BNjRhYmZhNDEtMTI5ZC00YjgxLTg0ODAtMTc1MmE3ZDRmZjJmXkEyXkFqcGdeQXVyOTc5MDI5NjE@._V1_.jpg" width="400" /></a></span></div><span style="color: #cc0000;"><br /></span><p></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"></span></p><div style="text-align: justify;"><span style="color: #cc0000;"><span style="background-color: transparent; font-family: Georgia, serif; font-size: 15pt;">Ao falar sobre o velho culto à deusa grega Diana, protetora
dos caçadores e também das mulheres grávidas, um dos homens diz que a religião
foi, em muitas ocasiões, usada para justificar ações sem justificativa - no caso,
o sacrifício da virgindade para a deusa, através do estupro. Até hoje muitas
ações horríveis são cometidas “em nome de Deus”. Também no tópico religião
dentro do filme, há uma sequência na qual Etienne debate com o padre local
sobre evolução e avareza.</span></span></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">When talking about the old cult to the Greek
goddess Diana, protector of hunters and also of pregnant women, one of the men
says that religion was, in many occasions, used to justify unjustifiable
actions - in the case, the sacrifice of virginity to the goddess, through rape.
Until today many horrible crimes are committed “in the name of God”. Also on
the topic of religion in the film, there is a sequence in which Etienne debates
with the local priest about evolution and avarice.</span><o:p></o:p></span></i></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><a href="https://www.cinematheque.fr/cache/media/programmation/films/le-dejeuner-sur-lherbe-renoir/s,910-dbbb2e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="910" height="225" src="https://www.cinematheque.fr/cache/media/programmation/films/le-dejeuner-sur-lherbe-renoir/s,910-dbbb2e.jpg" width="400" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><br /></span></div><span style="color: #cc0000;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><div style="text-align: justify;"><span style="font-size: 15pt;">A casa que aparece no filme pertenceu ao pintor
Pierre-Auguste Renoir, pai de Jean Renoir. O diretor passou parte de sua
infância e adolescência naquela propriedade e decidiu fazer esta viagem de
volta ao passado ao filmar a película. A pintura impressionista influenciou
grandemente o visual do filme. A casa foi mais tarde transformada em um museu.</span></div><o:p></o:p></span></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">The house that appears in the film belonged to the
painter Pierre-Auguste Renoir, Jean Renoir’s father. The director had spent
part of his childhood and adolescence in that property and decided to take this
trip down memory lane while making the film. Impressionist painting heavily
influenced the look of the film. The house was later transformed into a museum.</span></span></i><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BMmNiMjE5YWQtNDY5OS00Mjg2LTg0OTEtYzBmNmVjMThkMjc4XkEyXkFqcGdeQXVyOTc5MDI5NjE@._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="590" data-original-width="1000" height="236" src="https://m.media-amazon.com/images/M/MV5BMmNiMjE5YWQtNDY5OS00Mjg2LTg0OTEtYzBmNmVjMThkMjc4XkEyXkFqcGdeQXVyOTc5MDI5NjE@._V1_.jpg" width="400" /></a></span></div><span style="color: #cc0000;"><br /><div style="text-align: justify;"><span style="background-color: transparent; font-family: Georgia, serif; font-size: 15pt;">“O Almoço sobre a Relva” foi um primeiro filme feito por
Catherine Rouvel, então com apenas 20 anos de idade. Seu contrato proibia que
ela aparecesse em outro filme nos três anos após completar este aqui, uma
cláusula bastante incomum. Rouvel então aceitou vários trabalhos no teatro, mas
retornou às telas em 1963 num filme de Claude Chabrol.</span></div></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">“Picnic on the Grass” was the first film made by
then 20-year-old Catherine Rouvel. Her contract forbade her to appear in
another film for three years after completing this one, quite an unusual
clause. Rouvel then accepted several roles in the theater, but returned to the
screen in 1963 with a Claude Chabrol movie.</span><o:p></o:p></span></i></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><a href="https://p5.storage.canalblog.com/54/38/110219/37896832.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="275" data-original-width="400" height="275" src="https://p5.storage.canalblog.com/54/38/110219/37896832.jpg" width="400" /></a></span></div><span style="color: #cc0000;"><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br /><div style="text-align: justify;"><span style="background-color: transparent; font-size: 15pt;">O filme foi um fracasso de bilheteria na França mas um
sucesso nos EUA. Por causa disso e de outros problemas de produção, Renoir
decidiu não mais produzir seus próprios filmes. Apesar dos maus números, os
críticos da Cahiers du Cinéma gostaram do filme, tanto que ele ficou na 13ª
posição na lista deles para os melhores filmes de 1959.</span></div>
</span></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">The film was a box-office failure in France but a
success in the USA. Because of this and other production troubles, Renoir
decided to not act as a producer in his own films anymore. Despite the bad
numbers, the critics from Cahiers du Cinéma enjoyed the film, so much that it
figured as their 13th best film in the list of best movies released in 1959.</span></span></i><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><a href="https://p0.storage.canalblog.com/07/66/566699/65101726_p.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="199" data-original-width="300" height="265" src="https://p0.storage.canalblog.com/07/66/566699/65101726_p.jpg" width="400" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><br /></span></div><span style="color: #cc0000;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><div style="text-align: justify;"><span style="font-size: 15pt;">“O Almoço sobre a Relva” é um filme muito mais profundo do
que parece à primeira vista. Talvez seja até mesmo necessário assisti-lo mais
de uma vez para apreender completamente as discussões sobre progresso
científico, mitologia e a disputa entre ciência e natureza. É, sem dúvida, mais
um grande filme do mestre Jean Renoir.</span></div><o:p></o:p></span></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><br />
</span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #cc0000;">“Picnic on the Grass” is a much deeper film than
it seems in the surface. Maybe it’s even necessary to watch it more than once
to fully grasp the discussions about the price of scientific progress,
mythology and the clash between science and nature. It is, without a doubt,
another great film by the master Jean Renoir.</span></span><span style="color: #1d2228;"><o:p></o:p></span></span></i></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com2tag:blogger.com,1999:blog-5719905867000998397.post-18042354300618058962023-10-18T22:58:00.000-03:002023-10-18T22:58:32.896-03:0042ª Giornate del Cinema Muto / 42nd Pordenone Silent Film Festival<p> </p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">Pordenone é parte da minha história – pois eu fiz
parte do Collegium em 2020. Eu sou parte da história de Pordenone – pois ganhei
o prêmio do Collegium em 2021, no primeiro empate da história. Quando falo em “Pordenone”
estou me referindo, obviamente, à Le Giornate del Cinema Muto, ou o Festival de
Cinema Mudo de Pordenone. Mais uma vez, participei da Giornate online,
interessadíssima na rica oferta de filmes restaurados acompanhados por músicos
incríveis. E, mais uma vez, me diverti muito.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">Pordenone is part of my story – as I was in the 2020 Collegium. I am
part of Pordenone’s history – as I won the 2021 Collegium Prize, in its
first-ever tie. The Pordenone I’m referring to is, of course, Le Giornate del
Cinema Muto, or the Pordenone Silent Film Festival. Once again, I followed the
Giornate online, interested in their rich offering of restored movies
accompanied by amazing musicians. And, again, I had a blast.<o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja3XsOGJttUrznq5bkqknZ1jFEYvI5PJiLG8Za5fvYA_IbxOYuHhoQBDLHwXS1F9D-KdLftzyiaDRVgmF_ZHerqwmvtHGLvQ8SoTeVr73ntdCYbla3OWs_FYDjJAwSNqvvLjoBbwIncPHEFlm0UgVJAZGlZEa77SUEqzAUwVS3dvjkn384D7P88NGEsUE/s862/2023-pordenone.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="522" data-original-width="862" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja3XsOGJttUrznq5bkqknZ1jFEYvI5PJiLG8Za5fvYA_IbxOYuHhoQBDLHwXS1F9D-KdLftzyiaDRVgmF_ZHerqwmvtHGLvQ8SoTeVr73ntdCYbla3OWs_FYDjJAwSNqvvLjoBbwIncPHEFlm0UgVJAZGlZEa77SUEqzAUwVS3dvjkn384D7P88NGEsUE/w400-h243/2023-pordenone.jpg" width="400" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">Um dos curtas-metragens da atração de abertura, a
série Transatlantic Echoes, foi “Rudi Sportsman”, filme de 1911 vindo do então
Império Austro-Húngaro. Nele um homem, interpretado pelo diretor Emil Artur
Longen, tenta praticar diversos esportes, falhando sempre. Eu fiquei imaginando
se este Rudi era um personagem recorrente de Longen, como <b><a href="https://criticaretro.blogspot.com/2020/11/redescobrindo-marcel-perez.html" target="_blank">Marcel Perez</a></b> tinha
com seu Robinet e André Deed com seu Cretinett – um de seus curtas, “Cretinetti
che Bello” (1909), também fez parte do programa. Eu gostei de saber que vários
filmes do estúdio Kinofa do período compreendido entre 1908 e 1912 ainda
existem. Um par de curtas deste programa já havia aparecido na Silent Comedy
Watch Party, o que retirou o ineditismo deles para mim, mas mesmo assim foi
divertido revê-los. A conexão com a Silent Comedy Watch Party é óbvia, porque
um dos apresentadores da Party, meu amigo Steve Massa, foi um dos curadores do
programa em Pordenone.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">One of the shorts from the opening attraction, the Transatlantic Echoes
series, was “Rudi Sportsman”, a 1911 flick from what was then Austria-Hungary.
It has a man, played by the director Emil Artur Longen, trying and failing at
several sports. I could only wonder if this Rudi was a recurring character
Longen had, like <b><a href="https://criticaretro.blogspot.com/2020/11/redescobrindo-marcel-perez.html" target="_blank">Marcel Perez</a></b> did with his Robinet and André Deed with
Cretinetti – one of his shorts, “Cretinetti che Bello” (1909), was also part of
the program. I was pleased to learn that several films from the Kinofa studios
from the 1908-1912 period still exist. A couple of the shorts from this program
had already appeared at the Silent Comedy Watch Party, so they weren’t new to
me, but it was fun revisiting them. The connection to the Silent Comedy Watch
Party is obvious, since one of the hosts of the Party, my friend Steve Massa,
was a co-curator of the Pordenone program.<o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOovVu5vwM3S0VcWM6x7IkPF8OYCXQ8IrzPVn4PaX1sCvq-YKpDtss4Xf24t-YOs1gIUK4TnURO4Lsv8lPl1B9itGchre1db2Ur5I0EcNliBz8PcjkM2mj7Qm6E5KGifE1aSV7b8f56o_8kB_Dt4nvz8tnaO9FfNyyp2zySHol-PmeT62qoCGv7CWmtPY/s1366/2023-rudi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOovVu5vwM3S0VcWM6x7IkPF8OYCXQ8IrzPVn4PaX1sCvq-YKpDtss4Xf24t-YOs1gIUK4TnURO4Lsv8lPl1B9itGchre1db2Ur5I0EcNliBz8PcjkM2mj7Qm6E5KGifE1aSV7b8f56o_8kB_Dt4nvz8tnaO9FfNyyp2zySHol-PmeT62qoCGv7CWmtPY/w400-h225/2023-rudi.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #cc0000;">"Rudi Sportsman"</span></td></tr></tbody></table></span></i></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">Nós frequentemente falamos em filmes perdidos
quando o assunto é cinema mudo. “The Fox” (1921) era considerado um filme
perdido, mas uma cópia foi encontrada num arquivo em Praga, na República
Tcheca. Este filme forma parte de uma série sobre uma “estrela brilhante do céu
dos primórdios do faroeste”: Harry Carey. Em “The Fox”, Carey interpreta Santa
Fe, um andarilho que se torna ajudante do xerife de maneira curiosa – depois de
ser preso duas vezes! – e ajuda a desmantelar uma gangue escondida no Deserto Mojave,
onde o filme foi rodado. Curiosidade: este filme tem quase 150 cartelas de
títulos, embora tenha apenas 77 minutos de duração – são quase duas cartelas
por minuto!<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">We often talk about lost movies when the issue is silent cinema. “The
Fox” (1921) was a film deemed lost, but a copy was found at a film archive in
Prague, Czech Republic. This film is part of a series about “a bright star of
the early Western sky”: Harry Carey. In “The Fox”, Carey plays Santa Fe, a
wandering man who becomes the sheriff’s helper in an unconventional way – after
being arrested twice! – and helps dismantling a gang hiding in the Mojave
Desert, location where the film was shot. Curious info: this film has almost
150 title cards, despite being only 77 minutes long – it’s almost two title
cards per minute!<o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcl18D-bOoShLirNpGxSO8ssQhdkispchWX50_Sy_pnvE-XBnZYqlQTk6YrCrRwyZsGDgAUCcoe9Jd8PdUR-IkcSeFWLLe9zWp-hAcU0idSGdDp4OEO76yMNjH-Avf9ibDXA9y0uQTB_Ayd6apVz3n1CWUue6aDe8RLhlKRFO8u6SAcwg-PGO7_Hm5Fm4/s1366/2023-fox.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcl18D-bOoShLirNpGxSO8ssQhdkispchWX50_Sy_pnvE-XBnZYqlQTk6YrCrRwyZsGDgAUCcoe9Jd8PdUR-IkcSeFWLLe9zWp-hAcU0idSGdDp4OEO76yMNjH-Avf9ibDXA9y0uQTB_Ayd6apVz3n1CWUue6aDe8RLhlKRFO8u6SAcwg-PGO7_Hm5Fm4/w400-h225/2023-fox.jpg" width="400" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="color: #cc0000;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;">Eu havia ouvido falar no sub-gênero “Filmes de
Montanha” do período de Weimar, mas nunca havia assistido a um destes filmes. </span><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;">Isso mudou com “The Mountain of Destiny /Der Berg des Schicksals” (1924). </span><span style="font-family: "Georgia",serif; font-size: 15.0pt;">Filmado sem um roteiro, o protagonista
deste filme foi um campeão olímpico em esqui alpino! Hannes Schneider
interpreta um alpinista fanático que morre tentando chegar ao topo de uma
montanha altíssima, a Guglia del Diavolo. Anos depois, o filho deste homem (Luis
Trenker, um famoso alpinista) e sua namorada Hella (Hertha von Walther) tentam
escalar a mesma montanha. Foi um prazer e uma surpresa ver minha querida Von
Walther aqui, e num papel importante: ela é uma de minha atrizes subestimadas favoritas
do cinema mudo alemão.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="color: #cc0000;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">I had heard about Weimar’s Mountain Films sub-genre, but had never
watched one yet. “The Mountain of Destiny / Der Berg des Schicksals” (1924) changed
that. Shot without a screenplay, this film’s lead was an Olympic champion in
alpine skiing! Hannes Schneider plays a fanatic mountain climber who dies
trying to reach the top of a very high mountain, Guglia del Diavolo. Years
later, this man’s son (Luis Trenker, a famous alpinist) and his girlfriend
Hella (Hertha von Walther) try to climb the same mountain. It was a pleasure
and a surprise to see my dear Von Walther here, and in a prominent role: she is
one of my favorite underrated performers of the German silent movies.<o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEbm9zmrM7gkskyIxsY_u8B7WzTy6O3hdI-CJKLiGHecC2AVG9vhg8ADUGwXYUPS-DEe6Mi38zB4OvvsiBpXoiZ7JSiXiSDO0AGZOrU_FYgdxjTSdAqF2mXNIdLOMAjMDElGPsPlVTIt6ZpHSvZB75cjLNUWb0oP93NpaecIuzE6_xyZwNlh7CP26vguQ/s1366/2023-mountain.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEbm9zmrM7gkskyIxsY_u8B7WzTy6O3hdI-CJKLiGHecC2AVG9vhg8ADUGwXYUPS-DEe6Mi38zB4OvvsiBpXoiZ7JSiXiSDO0AGZOrU_FYgdxjTSdAqF2mXNIdLOMAjMDElGPsPlVTIt6ZpHSvZB75cjLNUWb0oP93NpaecIuzE6_xyZwNlh7CP26vguQ/w400-h225/2023-mountain.jpg" width="400" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">Uma das melhores coisas em Pordenone é redescobrir
estrelas esquecidas. Isso aconteceu este ano com o ator, diretor, produtor e
roteirista alemão Harry Piel: ele foi até mesmo citado como um dos atores mais
populares em um jornal brasileiro de 1922 publicado em Recife, de acordo com o
diretor de Pordenone, Jay Weissberg, em sal introdução ao programa duplo Harry
Piel. Muitas cópias dos filmes de Piel foram perdidas em bombardeios na Segunda
Guerra Mundial e o fato de ele ter se juntado ao partido nazista também não
deve ter ajudado em sua carreira pós-guerra.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">One of the best things in Pordenone is rediscovering forgotten stars.
This year this happened with German actor, director, producer and screenwriter
Harry Piel: he was even cited as one of the most popular actors in a 1922 Brazilian
newspaper from Recife, according to Pordenone director Jay Weissberg in his
introduction to the Harry Piel double program. Many copies of Piel’s films were
lost in the WWII bombings and the fact that he joined the Nazi party probably
didn’t help keep his career alive either.<o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV3diJyRd9TTitKLdm1NwD0EpSuB6HYtzkQP8jUFu-HOywzHQ4jm9nYFcioiiQ3aQmIH_Q6rhfDkdS7_rgvcJFY1Pj80qSXhyGxQ2jl8fqw5O3UXWpAWZ2TYCHKRa53-Ra664HI_Us4cuLrjO8QkpoSosbZGm93svLUHm_auw7b0_i4wUUjwDkTASV3bk/s1366/2023-rollendehotel2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV3diJyRd9TTitKLdm1NwD0EpSuB6HYtzkQP8jUFu-HOywzHQ4jm9nYFcioiiQ3aQmIH_Q6rhfDkdS7_rgvcJFY1Pj80qSXhyGxQ2jl8fqw5O3UXWpAWZ2TYCHKRa53-Ra664HI_Us4cuLrjO8QkpoSosbZGm93svLUHm_auw7b0_i4wUUjwDkTASV3bk/w400-h225/2023-rollendehotel2.jpg" width="400" /></a></i></div><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><br /></span></i><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">O primeiro filme de Piel, “A Journalist’s
Adventure / Das Abenteuer eines Journalisten”, estreou em novembro de 1914 e
nele encontramos o tema da guerra. Um cientista chamado Cleavaers está
desenvolvendo uma tecnologia para detonar minas submarinas sem o uso de fios, e
é sequestrado por uma sociedade secreta de nome Medusa que quer roubar a
invenção e receber uma recompensa do Ministério da Marinha. O salvador do
cientista será um jornalista chamado Harrison (Ludwig Trautmann), namorado da
filha que Cleavaers detesta. Embora o filme esteja incompleto, podemos acompanhar
a aventura e há várias perseguições emocionantes.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">The first Harry Piel film, “A Journalist’s Adventure / Das Abenteuer
eines Journalisten” premiered in November of 1914 and the war theme is there. A
scientist named Cleavaers is developing a technology for wireless detonation of
submarine mines and is kidnapped by a secret society named Medusa that wants to
steal his invention and receive a reward from the Ministry of the Navy. His
savior will be a journalist named Harrison (Ludwig Trautmann), his daughter’s
boyfriend who he dislikes. Even though the print is incomplete, we can follow
the adventure and there are plenty of exciting chases.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;"></span></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv36Y2GCpekWxmFQ98UAvOPyw0a3uZJH_a1rm17PEd6fPKy2tDmjzxywoJfMKPPkoiwafzz4c5zVIC5imPiTfXQwN8gsSuzjwcOYWIJX14-EqkFHszTZepwI4tjKYp8vma4Qlvjp-ByDP5yqYBwmwbqhVL_SvgNBEc4nUQgDhnHpOUvB_1k7KhZ1IYkRU/s1366/2023-journalist.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv36Y2GCpekWxmFQ98UAvOPyw0a3uZJH_a1rm17PEd6fPKy2tDmjzxywoJfMKPPkoiwafzz4c5zVIC5imPiTfXQwN8gsSuzjwcOYWIJX14-EqkFHszTZepwI4tjKYp8vma4Qlvjp-ByDP5yqYBwmwbqhVL_SvgNBEc4nUQgDhnHpOUvB_1k7KhZ1IYkRU/w400-h225/2023-journalist.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">Tendo estreado em 1918, “The Rolling Hotel / Das
Rollende Hotel” não tem nada a ver com a guerra. Uma questão sobre casamentos –
Parker, o guardião de Miss Addy (Käthe Haack), dará a mão dela para Tom ou
Johnson? – se transforma em uma disputa entre detetives quando Joe Deebs
(Heinrich Schroth) leva Addy para viver num hotel rodante – isto é, num trailer
– até que ela atinja a maioridade e possa se casar com quem desejar. Parker
contrata o detetive Scharf para ajudá-lo a encontrar Addy – já que “Scharf” em
alemão significa “apimentado”, ele com certeza apimenta as coisas no filme!
Também uma cópia incompleta, como o filme anterior, as partes faltantes foram
reconstruídas graças ao libreto da peça original. A sequência da corda-bamba nos
Alpes – filmada em locação – é o destaque deste segundo filme dirigido pelo “Douglas
Fairbanks alemão”.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">Released in 1918, “The Rolling Hotel / Das Rollende Hotel” has nothing
to do with war. An issue about weddings – will Parker, Miss Addy’s (Käthe
Haack) guardian, give her hand to Tom or Johnson? – becomes a dispute between
detectives when Joe Deebs (Heinrich Schroth) takes Addy to live in a rolling
hotel – that is, a trailer – until she comes of age and can marry whoever she
wants to. Parker hires detective Scharf to help him find Addy – being “Scharf”
the German word for “spicy”, he surely is one to spice things up in the movie!
Also an incomplete print, like the previous film, the missing parts were
reconstructed thanks to the libretto for the original play. The tightrope
sequence at the Alps – shot in location – is the highlight from this second
film directed by “the German Douglas Fairbanks”. <o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ciuoP8EtsScgq7Uei2u0eRsliwBXeuHmCNOiBJ__8BqqOUh-CWGGIaohLfp5O7NPuqB7iSqM1mM8i1ooTGQMQrwCM5WIpjuqvyI6BZl02FYWABl0slhHaRm3FUr3-nNuR3PWMmbVV2V-fW45DvL0iq48ydkLbmX0vTfMXKzmX31G7c0gvY6FmNMEXhM/s1366/2023-rollendehotel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ciuoP8EtsScgq7Uei2u0eRsliwBXeuHmCNOiBJ__8BqqOUh-CWGGIaohLfp5O7NPuqB7iSqM1mM8i1ooTGQMQrwCM5WIpjuqvyI6BZl02FYWABl0slhHaRm3FUr3-nNuR3PWMmbVV2V-fW45DvL0iq48ydkLbmX0vTfMXKzmX31G7c0gvY6FmNMEXhM/w400-h225/2023-rollendehotel.jpg" width="400" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">Nós reencontramos Harry Piel, como diretor, produtor
e ator, em “The Miracle of Tomorrow / Rivalen”, de 1923. Interpretando o que
uma crítica da época chamou de “uma combinação de Casanova e Cagliosgtro”,
Harry Piel é Harry Peel – um personagem autorreferente constante em sua obra -,
um aventureiro que deve proteger sua amada Evelyn Evans (Inge Helgard) de
Ravello (Charly Berger) durante um baile de máscaras. Ravello teve sua invenção
recusada pelo pai de Evelyn, um industrialista que também se recusou a dar a
mão de Evelyn para Ravello. Ao seu lado Ravello tem a vamp Julietta (Maria
Wefers) – ou ao menos acha que a tem – e o cientista Chilton (Karl Platten),
equipado com um robô gigante. Um filme emocionante, completo com perseguições e
perigos para Harry Peel, ele tem o final em aberto, pois a conclusão do
conflito viria em um filme posterior, “Der Letzte Kampf”.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">We meet again Harry Piel, as director, producer and actor, in “The
Miracle of Tomorrow / Rivalen”, from 1923. Playing what a review of the time
called “a combination of Casanova and Cagliostro”, Harry Piel plays Harry Peel
– a constant self-referential character from his oeuvre -, an adventurer who
must protect his beloved Evelyn Evans (Inge Helgard) from Ravello (Charly
Berger) during a masquerade. Ravello has had his invention refused by Evelyn’s
father, an industrialist who also refused when Ravello proposed to Evelyn. By
his side Ravello has the vamp Julietta (Maria Wefers) – or at least thinks he
has – and the scientist Chilton (Karl Platen), equipped with a giant robot. An
exciting film, complete with chases and dangers for Harry Peel, it has an open
ending, as the resolution of the conflict would happen in a posterior film,
“Der Letzte Kampf”. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;"></span></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHyeYeFfNjDB_coHBRWtHMs8x7hqgVvU9apOpV8wC4mQ1_l8GCTfZWgrsyr7jrpyhtX7vRT4AA7cuzozV_yhI2jqwZkLpt7vwFE676aiuo79-8ndpjnX5hPfTwR7vllimIOHWuJ0fiDH646pUNmTlEPQBMlJy3GwsxRHcAvnUzMjk9UIJZjePzQb0adsQ/s1366/2023-rivalen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHyeYeFfNjDB_coHBRWtHMs8x7hqgVvU9apOpV8wC4mQ1_l8GCTfZWgrsyr7jrpyhtX7vRT4AA7cuzozV_yhI2jqwZkLpt7vwFE676aiuo79-8ndpjnX5hPfTwR7vllimIOHWuJ0fiDH646pUNmTlEPQBMlJy3GwsxRHcAvnUzMjk9UIJZjePzQb0adsQ/w400-h225/2023-rivalen.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">Italia Vitaliani foi prima da grande dama do
teatro Eleonora Duse. Contrariando as populares divas de seu tempo, Vitaliani
performa de maneira mais contida, como mostrado em “La Madre” (1917) – a comparação
foi ainda mais clara pois foi exibido, antes do filme, um fragmento de um filme
com a diva Leda Gys. Em “La Madre”, usando uma peruca e maquiagem pesada,
Vitaliani interpreta Mamãe Roan, cujo único filho, Emanuel (Giuseppe Sterni,
também diretor do filme), é um aspirante a pintor. Emanuel vai para a cidade
grande, onde ele conhece a proto-femme fatale Isabella, uma modelo – com ênfase
no “proto”. Preocupada, a mãe vai atrás dele para salvá-lo das garras de
Isabella e para inspirá-lo a pintar sua obra-prima. “La Madre” foi o último
filme de Vitaliani, que escolheu focar nos palcos e ensinar, continuando o
legado da prima famosa.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">Italia Vitaliani was the cousin of the great dame of theater Eleonora
Duse. Contrary to the popular divas of her time, Vitaliani’s acting is more
constrained and it shows in “The Mother / La Madre” (1917) – the comparison was
clearer as a fragment of a film starring the diva Leda Gys was shown before the
main feature. In “La Madre”, wearing a wig and heavy make-up, Vitaliani plays
Mother Roan, whose only son, Emanuel (Giuseppe Sterni, also the director), is
an aspiring painter. Emanuel goes to the city, where he meets the proto-femme
fatale Isabella, a model – emphasis on “proto”. Worried, his mother goes after
him to save him from Isabella and then inspires him to paint his masterpiece. “La
Madre” was Vitaliani’s last film, as she decided to focus on stage acting and
also on teaching, continuing her famous cousin’s legacy.<o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiEuz_I_PdOUapBZClhnc42ipwTUoo-9i2Xx4RGRJaWvrNKQniiVt47AIx6xp2EuQk2uyJavXG1Wd6eG0UJRl0ccBQQ644eV92HzOtlySkh2h03XxyDd_t4qe5RljjhwAzw1Ssifgfhd4boIaCR1aPFMSMfS8nuYWLRtUJ0OGWmQahmMRBRE-ycV9dhzg/s1366/2023-lamadre.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiEuz_I_PdOUapBZClhnc42ipwTUoo-9i2Xx4RGRJaWvrNKQniiVt47AIx6xp2EuQk2uyJavXG1Wd6eG0UJRl0ccBQQ644eV92HzOtlySkh2h03XxyDd_t4qe5RljjhwAzw1Ssifgfhd4boIaCR1aPFMSMfS8nuYWLRtUJ0OGWmQahmMRBRE-ycV9dhzg/w400-h225/2023-lamadre.jpg" width="400" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">Da Filmoteca de Catalunya, em Barcelona, veio uma compilação
de 20 filmes britânicos do primeiro cinema. Nestes filmes curtíssimos, temos um
vislumbre de como era a vida há mais de cem anos – incluindo uma competição
muito louca chamada de “paper chase”, mas também oferecendo uma visão de
atividades divertidas nos Alpes, uma trupe de macacos ensinados, elefantes
tomando banho no Ceilão e órfãos sincronizados. Os curtas de ficção mostraram
alguma sofisticação para a época, como “Eccentric Burglary” (1905) com todos
aqueles shots reversos. Meu favorito do programa foi “An Affair of Honour”
(1904), um retrato muito engraçado de um duelo que deu errado. <o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">From the Filmoteca di Catalunya, in Barcelona, came a compilation of 20 early
British films. These very short movies offer a snippet of how life was over a
century ago – including the very weird competition called “paper chase”, but
also offering a view of fun in the Alps, a troupe of educated monkeys,
elephants bathing in Ceylon and synchronized orphans. The fiction shorts showed
some sophistication for the time, like “Eccentric Burglary” (1905) with all
those reverse shots. My favorite of the bunch was “An Affair of Honour” (1904),
a very funny portrait of a duel gone wrong.<o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifNLwLSYvvAx-zvKnrqF6uLqnmyK9ESxJ_ak4doLCnvFI25BBsKkDowFT2N4yrv0QocKznjKYMo4L0tSNYE4bMKACVufCIBlfaQ2xe5HpjK-X2XSBNL_p8sJrzOESopd72KaFRLO2pyaupTWigD8Lw0zOikJRZ7zbK0NHFbO-Gnn4F0PIr3h3uYCWGvxI/s1366/2023-sangers-circus-passing-through-inverness.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifNLwLSYvvAx-zvKnrqF6uLqnmyK9ESxJ_ak4doLCnvFI25BBsKkDowFT2N4yrv0QocKznjKYMo4L0tSNYE4bMKACVufCIBlfaQ2xe5HpjK-X2XSBNL_p8sJrzOESopd72KaFRLO2pyaupTWigD8Lw0zOikJRZ7zbK0NHFbO-Gnn4F0PIr3h3uYCWGvxI/w400-h225/2023-sangers-circus-passing-through-inverness.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #cc0000;">"Sangers Circus Passing Through Inverness" (1900)</span></td></tr></tbody></table></span></i></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">Outra compilação no programa trouxe quarenta e um
filmes caseiros em 9,5mm vindos do mundo todo, feitos entre 1923 e 1960. Com
filmes sobre coisas como comida e crianças brincando, o programa foi mais um
que ofereceu uma vista d’olhos para um passado recente. Houve até espaço para
alguns curtas mais experimentais!<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">Another compilation in the program brought forty-one 9,5mm home movies
from all over the world, spanning the years 1923 to 1960. With movies about
things such as food and children playing, the program was another one that
offered a sneak peek of how lives were in the recent past. There was even room
for some more experimental shorts!<o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0GEW6_JE6S1dK1t1jnip5Q2k0QAREY5NkyTmUM-cdYlS1l4VJ2FsmRGECSL5xM3HDFUiR99PGcrhOC03jxsZ57ZTUEGspxnbyO0CLq9pqfBthD0Z7cuY3-2wooxi7yBW6riBoPgxJeGIKOQiSBkNCUYxJvinqDCHpzO37Wjst-_ASaHDPTf6Ft7vPvdY/s1366/2023-9.5mm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0GEW6_JE6S1dK1t1jnip5Q2k0QAREY5NkyTmUM-cdYlS1l4VJ2FsmRGECSL5xM3HDFUiR99PGcrhOC03jxsZ57ZTUEGspxnbyO0CLq9pqfBthD0Z7cuY3-2wooxi7yBW6riBoPgxJeGIKOQiSBkNCUYxJvinqDCHpzO37Wjst-_ASaHDPTf6Ft7vPvdY/w400-h225/2023-9.5mm.jpg" width="400" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">Você se lembra de Silistria e outros reinos da Ruritânia
na <a href="https://criticaretro.blogspot.com/2022/10/41-giornate-del-cinema-muto-41st.html" target="_blank">Giornate do ano passado</a>? Eles estão de volta em 2023, e um filme da série é “A
Woman of Distinction / Eine Frau Von Format” (1928). Ele conta as aventuras da
Embaixatriz da Turquísia, Dschilly Zileh Bey (Mady Christians), que vai para a
Silistria e conhece a Princesa (Diana Karenne) do reino. Dschilly está lá para comprar
uma ilha, e assim inicia uma disputa diplomática com o Conde Geza (Peter
Leska). Este raro filme centrado em personagens femininas foi acompanhado pela
pianista Elaine Loebenstein e é muito divertido, contando até com cross-dressing.
<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">Do you remember Silistria and other Ruritanian kingdoms from <a href="https://criticaretro.blogspot.com/2022/10/41-giornate-del-cinema-muto-41st.html" target="_blank">last year’s Giornate</a>? They are back in 2023, and one film from the series is “A Woman of
Distinction / Eine Frau Von Format” (1928). It follows the adventures of the
Ambassador of Turquisie, Dschilly Zileh Bey (Mady Christians), as she goes to
Silistria and meets the Princess (Diana Karenne) of the kingdom to buy an
island, initiating a diplomatic dispute with Count Geza (Peter Leska). This rare
female-centered movie was also accompanied by a female pianist, Elaine
Loebenstein, and was a lot of fun, complete with cross-dressing.<o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoRBxRWs5EaJtFAX3011-NGRSmrbr4wi3kx6ctAvqIIMiFapubb9G-Wk9ymGjASLhh_l4GI4uhfRySC6H4qrjJbNwAPw-rfZDrOUPhccNqMCQwY_LB0ioS8Tw0Wc-u0FUbqp5a4nSrdh1t5FoLHDBR1fYmlii1xEIIZSgrsw02HP9GrwdA1TGvpS4BgdY/s1366/2023-ambassador.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoRBxRWs5EaJtFAX3011-NGRSmrbr4wi3kx6ctAvqIIMiFapubb9G-Wk9ymGjASLhh_l4GI4uhfRySC6H4qrjJbNwAPw-rfZDrOUPhccNqMCQwY_LB0ioS8Tw0Wc-u0FUbqp5a4nSrdh1t5FoLHDBR1fYmlii1xEIIZSgrsw02HP9GrwdA1TGvpS4BgdY/w400-h225/2023-ambassador.jpg" width="400" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">Mae Murray brilha e mostra alguns passos de dança
radicais em “Circe the Enchantress” (1924), um conto da era do jazz dirigido
por Robert Z. Leonard, então marido de Mae. Neste filme, ela interpreta a
socialite Cecilie que, embora seja amada por Jeff Craig (William Haines),
decide seduzir seu vizinho, o doutor Van Martyn (James Kirkwood). Com incríveis
sequências de festas, o filme toma um caminho melodramático perto do fim –
típico da época em que foi feito. <o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">Mae Murray shines and shows some rad dance moves in “Circe the
Enchantress” (1924), a tale of the Jazz Age directed by Robert Z. Leonard, then
Mae’s husband. In this film, she plays society girl Cecilie who, despite being
loved by Jeff Craig (William Haines), decides to seduce her neighbor, Dr Van
Martyn (James Kirkwood). With amazing party sequences, the film takes a
melodramatic turn near the end – typical of its time.<o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Y-67nJyYn1ZepKbwTXOsA9rO3wjTCDTY7zwRHCt8XblAdx5d3shykyqf6unEurnBjOAGim6KZutKACf1vgtsZgJnvffntOG-g3DLcqjJszqu0B-k1XQGshXVIgHJdud10WYWsdreJ57L6tjrMxIaE0aRaHeNvFyWSdAB-DVIJtBWbpbcMn2YpLx3TgY/s1366/2023-circe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Y-67nJyYn1ZepKbwTXOsA9rO3wjTCDTY7zwRHCt8XblAdx5d3shykyqf6unEurnBjOAGim6KZutKACf1vgtsZgJnvffntOG-g3DLcqjJszqu0B-k1XQGshXVIgHJdud10WYWsdreJ57L6tjrMxIaE0aRaHeNvFyWSdAB-DVIJtBWbpbcMn2YpLx3TgY/w400-h225/2023-circe.jpg" width="400" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="color: #cc0000;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;">O cinema de Weimar recebeu destaque na Giornate
deste ano. Três gêneros de filmes de Weimar foram exemplificados: o Filme de
Montanha (com “The Mountain of Destiny”), os filmes de aventura (de Harry Piel)
e os Filmes de Rua com “The Street / Die Stra</span><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;">β</span><span style="font-family: "Georgia",serif; font-size: 15.0pt;">e” (1923). Este foi a
obra-prima do diretor Karl Grune e uma influência para todos os filmes que têm
uma cidade como personagem, caso de alguns filmes noir. A história – contada com
um mínimo de cartelas de texto – é sobre um Marido (Eugen Klöpfer) que sai uma
noite e se apaixona por uma Vamp (Aud Egede Nissen) e se mete em encrenca na
casa dela. Quase irreconhecível, Max Schreck (mais conhecido como Nosferatu)
interpreta um homem cego. <o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="color: #cc0000;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;">Weimar cinema was
ostensibly showcased in this year’s Giornate. There were three genres of Weimar
film</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;">s
exemplified: the Mountain Film (with “The Mountain of Destiny”), the adventure
films (Harry Piel’s films) and the Street Film with “The Street / Die Straβe”
(1923). This latter was director Karl Grune’s masterpiece and an influence for
all films that have a city as a character, like some noirs. The story – told
with minimum use of title cards – is about a Husband (Eugen Klöpfer) who goes
out one night and falls for a Vamp (Aud Egede Nissen) and finds trouble in her
house. Almost unrecognizable, Max Schreck (aka Nosferatu) plays a blind
man.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></i></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"></span></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnOV90aSPAbPHBO9TZcsG9Gqt7qhxOjvZWHAKxJrCUbCnvAzUzhEXE5nmFEHh_ZGiWxgiCQhFkUNfe8ali_CdanTZl3w5glnmL4N-rLwP2NlUdQMLDAj7mLF9N1SHS8XAzevtZxc3cYwgU0JKOL3nC4HmFtljcotXo2LUkt7VLlnz9bknEtZn2XtWkrro/s753/2023-street.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="555" data-original-width="753" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnOV90aSPAbPHBO9TZcsG9Gqt7qhxOjvZWHAKxJrCUbCnvAzUzhEXE5nmFEHh_ZGiWxgiCQhFkUNfe8ali_CdanTZl3w5glnmL4N-rLwP2NlUdQMLDAj7mLF9N1SHS8XAzevtZxc3cYwgU0JKOL3nC4HmFtljcotXo2LUkt7VLlnz9bknEtZn2XtWkrro/w400-h295/2023-street.jpg" width="400" /></a></i></span></div><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">O filme que encerrou a 42<sup>a </sup>Giornate
online foi “Conrad in Quest of His Youth”, um filme de 1920 de William C. DeMille
– irmão de Cecil B. Conrad Warrener (Thomas Meighan) retorna da guerra e se
sente nostálgico, por isso decide reencontrar velhos conhecidos para reviver os
bons e velhos tempos – mas nada sai como ele esperava. <o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">The film that closed the online 42<sup>nd</sup> Giornate was “Conrad in
Quest of His Youth”, a 1920 film by William C. DeMille – Cecil B.’s brother.
Conrad Warrener (Thomas Meighan) returns from the war and feels nostalgic, so
he decides to reconnect with old acquaintances to relive the good old times –
but nothing comes out as expected by him.<o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3_vqnRv9-iFWzaJuzc4GRThUETWe9FGPu6sEI0JCR3af7GDJ7Kxpfikwh5jV0a3L3lPOMev7nHIpYM4Zg9Cj5P67mO_qy39omzStE75WtmlmP4aYtKLAzQtutSFl8UrGaYtdOucb14ogU0bsz9M_brMRJ9UpK_ScDiT5T6le0_ixX5g1uFnsvWAHgbRw/s993/2023-conrad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="559" data-original-width="993" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3_vqnRv9-iFWzaJuzc4GRThUETWe9FGPu6sEI0JCR3af7GDJ7Kxpfikwh5jV0a3L3lPOMev7nHIpYM4Zg9Cj5P67mO_qy39omzStE75WtmlmP4aYtKLAzQtutSFl8UrGaYtdOucb14ogU0bsz9M_brMRJ9UpK_ScDiT5T6le0_ixX5g1uFnsvWAHgbRw/w400-h225/2023-conrad.jpg" width="400" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">Muitas cópias este ano vieram do Bundesarchiv
alemão, o que foi ótimo porque pude testar meu alemão lendo cartelas de texto.
O arquivo tcheco Národní Filmový Archiv também colaborou muito, oferecendo
filmes como “The Fox”, “Circe the Enchantress” e, no festival presencial, um
filme perdido de 1918 sobre o Rio Amazonas aqui do Brasil.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">Many prints this year came from the German Bundesarchiv, which was great
because I could test my German reading intertitles. The Czech archive Národní
Filmový Archiv also was a big player, offering films such as “The Fox”, “Circe
the Enchantress” and, in the in-person festival, a missing film from 1918 about
the Amazon River here in Brazil. <o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil_CLp5xlbqEfsBHlH-9OQbq2lowPQG6curXHgPF8zoSG0ZEbv9ecEPNsx25dEBiB3_hBZbUyVqbALLukDGBzwxVXK25DUt2Uhe_8YRiSN6hOUOZAY7bemN9AxO4Pt_bFiPova5t7ra6sMvv-Ks2j8lZZW7Y0t9a7QekMaeVvBEnKLZQBVE6yuLw9gdfM/s1366/2023-herta%20von%20walther.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil_CLp5xlbqEfsBHlH-9OQbq2lowPQG6curXHgPF8zoSG0ZEbv9ecEPNsx25dEBiB3_hBZbUyVqbALLukDGBzwxVXK25DUt2Uhe_8YRiSN6hOUOZAY7bemN9AxO4Pt_bFiPova5t7ra6sMvv-Ks2j8lZZW7Y0t9a7QekMaeVvBEnKLZQBVE6yuLw9gdfM/w400-h225/2023-herta%20von%20walther.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #cc0000;">"The Mountain of Destiny" (1924)</span></td></tr></tbody></table></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"></span></i></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">Uma mudança muito boa feita no festival online
este ano foi que os filmes ficaram disponíveis por 48 horas, não mais 24 como
nas edições anteriores. Esta janela de tempo maior me ajudou muito e fez que eu
e, como pude ler nas redes sociais, muitos outros pudéssemos aproveitar todas
as sessões.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">One very good change in this year’s online festival is that the movies
were available for 48 hours, not 24 like in the previous editions. This bigger
time window really helped me and, as I could read on social media, others fully
enjoy the screenings.</span></span></i></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;"><o:p></o:p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJyJy_b93be9hMyTC7WiBAhMN3VFZCsquhGiEiruLIs-GtZe-udEFFPzUvRYwGGUGrOrzKAQMUb23e_tQoZS5bwA0JyHpy_lJIAOuMDQwUuwIP2-KYi6EYTkj7_dfw7-HTbPm00vjs02WJUVQ0sYbqaerKrmNlinBJYJlIfKi1TiPxBueoLMgpxO2bJZA/s1366/2023-ambassador2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJyJy_b93be9hMyTC7WiBAhMN3VFZCsquhGiEiruLIs-GtZe-udEFFPzUvRYwGGUGrOrzKAQMUb23e_tQoZS5bwA0JyHpy_lJIAOuMDQwUuwIP2-KYi6EYTkj7_dfw7-HTbPm00vjs02WJUVQ0sYbqaerKrmNlinBJYJlIfKi1TiPxBueoLMgpxO2bJZA/w400-h225/2023-ambassador2.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #cc0000;">"A Woman of Distinction" (1928)</span></td></tr></tbody></table></span></span></i></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;">Houve mais programas na Giornate presencial que não
entraram na edição online, como a muito antecipada exibição de fragmentos de
filmes que ecoam assuntos feministas. Para a Giornate online, entretanto, eu
não consigo me decidir e escolher uma atração favorita, pois adorei tudo. Prova
de que é possível<span style="mso-spacerun: yes;"> </span>para uma pessoa
assistir só filmes mudos pelo resto da vida sem se cansar, a Giornate del
Cinema Muto mais uma vez trouxe alegria e conhecimento para nós ao redor do
mundo.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Georgia",serif; font-size: 15.0pt;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Georgia",serif; font-size: 15.0pt; mso-ansi-language: EN-US;"><span style="color: #cc0000;">There were more programs in the in-person Giornate that didn’t make the
online edition, like a very anticipated screening of film fragments that echo
feminist issues. For the online Giornate, however, I can’t come to terms and
choose a favorite attraction, as I enjoyed it all immensely. Proof that one can
watch only silent movies for the rest of one’s life and not be bored, the
Giornate del Cinema Muto once again brought joy and knowledge to us all over the
world.</span><o:p></o:p></span></i></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com2tag:blogger.com,1999:blog-5719905867000998397.post-17095646128607437822023-10-14T21:24:00.003-03:002023-10-14T21:25:53.739-03:00O que Matou por Amor (1944) / Summer Storm (1944)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Até mesmo grandes diretores começaram dando
pequenos passos. Hoje nosso foco é um filme de Douglas Sirk feito para os
estúdios Angelus Pictures e Nero Film, ambos praticamente esquecidos na
atualidade. Nero Film, assim como Sirk, tinha como casa a Alemanha e migrou
quando os nazistas chegaram ao poder. “O que Matou por Amor” é apenas o segundo
filme de Sirk feito em Hollywood, e um filme que ecoa as raízes europeias do
diretor.</span></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Even big directors started small. Today we showcase a
film by Douglas Sirk made for the studio Angelus Pictures, as well as Nero
Film, both nearly forgotten today. Nero Film, just like Sirk, was based in
Germany and fled as Nazis came to power. “Summer Storm” is just Sirk’s second
film made in Hollywood, and one that echoed his European roots.</span><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://m.media-amazon.com/images/M/MV5BMGY3YTE2MzQtOWFmMy00YjM0LTllNWQtNzAzOTg1Mzc2YTA2XkEyXkFqcGdeQXVyNjQzNDI3NzY@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="626" data-original-width="800" height="313" src="https://m.media-amazon.com/images/M/MV5BMGY3YTE2MzQtOWFmMy00YjM0LTllNWQtNzAzOTg1Mzc2YTA2XkEyXkFqcGdeQXVyNjQzNDI3NzY@._V1_.jpg" width="400" /></a></i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div><span style="color: #cc0000;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><div style="text-align: justify;"><span style="font-size: 15pt;">Nossa história começa em 1919, na Rússia revolucionária,
quando o ex-conde Volsky (Edward Everett Horton) procura um jornal para
publicar uma história. Ele chega à sede do Times local e descobre que a nova
editora é uma velha conhecida, Nadena Kalenin (Anna Lee). Ele dá a ela o
manuscrito e passamos para dentro da história.</span></div></span></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Our story starts in 1919, in revolutionary Russia,
when the former Count Volsky (Edward Everett Horton) seeks a newspaper to
publish a story. He arrives at the local Times headquarters and learns that the
new editor is an old acquaintance, Nadena Kalenin (Anna Lee). He then hands her
the manuscript and we’re immersed in the story.</span><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://www.filmlinc.org/wp-content/uploads/2015/11/summerstorm-1600x900-c-default.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://www.filmlinc.org/wp-content/uploads/2015/11/summerstorm-1600x900-c-default.jpg" width="400" /></a></i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div><span style="color: #cc0000;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><div style="text-align: justify;"><span style="font-size: 15pt;">Corta para 1912, numa Rússia pré-revolucionária. Nadena
acabara de ficar noiva de Fedor ‘Fedya’ Petroff (George Sanders), mas ele
conhece uma camponesa encantadora, Olga (Linda Darnell), na casa de Volsky.
Olga se casa com um dos empregados de Volsky, Anton Urbenin (Hugo Haas), mas
ela claramente tem nojo do marido e vai atrás de Fedya. Não satisfeita, ela
também seduz Volsky!</span></div></span></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Cut to 1912, in pre-revolutionary Russia. Nadena has
just gotten engaged to Fedor ‘Fedya’ Petroff (George Sanders), but he meets an
enchanting peasant, Olga (Linda Darnell), at Volsky’s place. Olga marries one
of Volsky’s employees, Anton Urbenin (Hugo Haas), but she’s clearly disgusted
by her husband and pursues Fedya instead. Not satisfied, she also seduces
Volsky!</span><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQ_BDiIxn5yp7NSHq6Nv9uFbqZq6YS1_7rdyaxv92fnCCjhI4-JADNXeO3PC1UGjRkc5Ys&usqp=CAU" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="194" data-original-width="259" height="300" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQ_BDiIxn5yp7NSHq6Nv9uFbqZq6YS1_7rdyaxv92fnCCjhI4-JADNXeO3PC1UGjRkc5Ys&usqp=CAU" width="400" /></a></i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div><span style="color: #cc0000;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><div style="text-align: justify;"><span style="font-size: 15pt;">Quando Fedya e Olga se beijam pela primeira vez, ela está
mais preocupada com seu único par de botas, que ela estava segurando e que
caíram de suas mãos. No segundo beijo deles – ou no segundo beijo que vemos –
acontece no dia do casamento dela e de repente ela se mostra mais segura e
ousada. Esta mudança de garota simples para um tipo de femme fatale parece
estranha, mas faz sentido porque Olga é uma mulher endurecida por sua
realidade: com um pai alcoólatra, sua única maneira de escapar de uma vida
miserável é através de suas relações com os homens.</span></div></span></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">When Fedya and Olga first kiss, she’s more worried
about her only pair of boots, that she was holding and fall from her hand. In
their second kiss – or in the second kiss we see – it’s her wedding day and
suddenly she’s more secure and bold. This transition from simple girl to a kind
of femme fatale seems odd, but makes sense as Olga is a woman hardened by her
reality: with an alcoholic father, her only way out of a miserable life is
through her relationships with men.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://p7.storage.canalblog.com/75/94/110219/60386808.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://p7.storage.canalblog.com/75/94/110219/60386808.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Linda Darnell tinha apenas 20 anos quando fez “O
que Matou por Amor”. Nascida Monetta Eloyse Darnell em Dallas, Texas, ela foi
obrigada pela mãe a começar uma carreira como modelo aos 11 anos de idade e
como atriz aos 13. Ela fez seu primeiro filme em 1939 e vinha interpretando personagens
inocentes... até “O que Matou por Amor”. Este filme mudou sua imagem junto ao
público e a partir daí ela passou a interpretar personagens mais ambíguas,
incluindo algumas femme fatales, com grande sucesso.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Linda Darnell was only 20 when she made “Summer Storm”. Born
Monetta Eloyse Darnell in Dallas, Texas, she was pushed by her mother to pursue
a modeling career, that started at age 11, and an acting career, starting at
13. She made her first film in 1939 and had been playing innocent characters… until
“Summer Storm”. This film changed her public image and from then on she played
more ambiguous characters, including a few femme fatales, with great success.</span><o:p></o:p></span></i></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://static01.nyt.com/images/2009/11/15/arts/15kehr_span_CA0/articleLarge.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="361" data-original-width="600" height="241" src="https://static01.nyt.com/images/2009/11/15/arts/15kehr_span_CA0/articleLarge.jpg" width="400" /></a></i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div><span style="color: #cc0000;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><div style="text-align: justify;"><span style="font-size: 15pt;">A jovem criada do conde Volsky, Clara (Laurie Lane), suspira
quando vê que Fedya chegou para visitar o amigo. Ela tinha sua razão: George
Sanders foi um dos atores mais charmosos da velha Hollywood. Com uma voz
distinta e melódica, Sanders foi escolhido para o papel devido à sua semelhança
física com o ator alemão Willy Birgel, que era a primeira escolha de Sirk
quando o diretor estava desenvolvendo a adaptação do romance ainda na Alemanha.
Sirk deixou o país em 1937, mas levou consigo a ideia de adaptar “The Shooting Party” para as telas.</span></div></span></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Count Volsky’s young maid Clara (Laurie Lane) swoons
when she says Fedya is there to see his friend. She had reason: George Sanders
was one of the most charming actors from Old Hollywood. With a distinct,
melodic voice, Sanders was chosen for the role because he looked like German
actor Willy Birgel, who was Sirk’s first choice when the director was
developing the adaptation of the novel still in Germany. Sirk left the country
in 1937, but kept his idea of adapting “The Shooting Party” to the screen.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQd-KGCBDbQAYj5fM1arVtRFghGC_pKOg-uSg&usqp=CAU" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="194" data-original-width="259" height="300" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQd-KGCBDbQAYj5fM1arVtRFghGC_pKOg-uSg&usqp=CAU" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“O que Matou por Amor” é baseado num romance do
notório escritor russo Anton Chekhov, e o texto foi adaptado para as telas por
Douglas Sirk e Michael O’Hara. Mas não existia ninguém chamado Michael O’Hara:
é apenas o pseudônimo de Sirk! O roteiro final é creditado a Rowland Leigh, mas
ele não foi a primeira escolha de Sirk: o primeiro roteirista contratado, James
M. Cain, foi demitido por Sirk porque ele fez os personagens parecerem “americanos
demais”. “The Shooting Party” foi o trabalho mais longo de Chekhov e seu único
romance.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">“Summer Storm” is based on a novel by the notorious Russian
writer Anton Chekhov, and the text was adapted to the screen by Douglas Sirk
and Michael O’Hara. But there was no such person named Michael O’Hara: it’s
only Sirk’s pseudonym! The final screenplay is credited to Rowland Leigh, but
he wasn’t Sirk’s first choice: the first screenwriter hired, James M. Cain, was
fired by Sirk because he made the characters seem “too American”. “The Shooting
Party” was Chekhov’s largest work and only full-length novel.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://somecamerunning.typepad.com/.a/6a00e5523026f58834012875be1091970c-pi" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="608" data-original-width="800" height="304" src="https://somecamerunning.typepad.com/.a/6a00e5523026f58834012875be1091970c-pi" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Feito numa época em que ainda não havia
animosidade em relação à Rússia e União Soviética – o país e os EUA eram aliados
durante a Segunda Guerra Mundial, e a Guerra Fria ainda levaria um par de anos
para começar – “O que Matou por Amor” bebe da tradição russa e nos faz imaginar
que obras-primas poderiam vir se Hollywood tivesse continuado adaptando obras
russas. Um veículo excelente para suas estrelas, este é certamente um filme que
vale a pena ser visto se ainda não foi.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Made in a time when there wasn’t yet animosity regarding
Russia and URSS – the country and the USA were allies during World War II, and
the Cold War would still take a couple of years to start – “Summer Storm”
drinks from Russian tradition and makes us wonder which masterpieces would come
if Hollywood kept adapting Russian works. An excellent vehicle for its stars,
it is surely a film to check out if you haven’t yet.</span><o:p></o:p></span></i></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">This is my contribution to the <b><a href="https://musingsofaclassicfilmaddict.wordpress.com/2023/10/14/the-linda-darnell-blogathon-is-here/" target="_blank">Linda Darnell Centennial blogathon</a></b>, hosted by Samantha at Musings of a Classic Film Addict.</span></span></i><span lang="EN-US" style="background: white; color: #1d2228; font-family: "Georgia",serif; font-size: 15pt; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://musingsofaclassicfilmaddict.files.wordpress.com/2023/09/14.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="531" height="400" src="https://musingsofaclassicfilmaddict.files.wordpress.com/2023/09/14.jpg" width="266" /></a></i></div><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><br /></span></i><p></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com3tag:blogger.com,1999:blog-5719905867000998397.post-3709530299316209142023-09-29T18:44:00.000-03:002023-09-29T18:44:00.009-03:00Os Contos de Hoffmann (1951) / The Tales of Hoffmann (1951)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Eu confio em Martin Scorsese. Ele não é apenas
um excelente cineasta, mas também ama o cinema profundamente. Ele tem uma
fundação para restaurar e exibir filmes de todo o mundo que sejam culturalmente
significantes. E por causa disso ele tem um ótimo gosto para filmes. Foi
através de uma entrevista com Scorsese que eu pela primeira vez ouvi falar de “Os
Contos de Hoffmann” (1951), um filme escrito, produzido e dirigido pela dupla
dinâmica Michael Powell e Emeric Pressburger – o filme que é considerado o
último triunfo deles antes da separação em 1957.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">In Martin Scorsese we trust. He’s not only a great
filmmaker, but also loves cinema deeply. He has a foundation to restore and
exhibit movies from all over the world that are culturally significant. And
because of this he has a very good taste in movies. It was through an interview
with Scorsese that I first heard about “The Tales of Hoffmann” (1951), a film
written, produced and directed by the mighty duo of Michael Powell and Emeric
Pressburger – a film that is considered to be their last hurrah before they
split in 1957.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://3.bp.blogspot.com/-t_OOznHO6gs/VYHY-DhYchI/AAAAAAAACbs/-qHAyewyxBk/s1200-p-k-no-nu/poster_thetalesofhoffmann.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="210" src="https://3.bp.blogspot.com/-t_OOznHO6gs/VYHY-DhYchI/AAAAAAAACbs/-qHAyewyxBk/w400-h210/poster_thetalesofhoffmann.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O filme consiste em três histórias contadas por
E.T.A. Hoffmann (Robert Rounseville) durante o intervalo de um espetáculo de
dança do qual sua amada Stella (Moira Shearer) é a estrela. Stella também é objeto
de desejo do rival de Hoffmann, Lindorf (Robert Helpmann). <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The movie consists in three tales told by E.T.A.
Hoffmann (Robert Rounseville) during the interval of a dance spectacle where
his beloved Stella (Moira Shearer) is the star. Stella is also the object of
desire of Hoffmann’s rival, Lindorf (Robert Helpmann).</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/31dd1e681c4a5cc85a30663492b094d0/5cf796a7fdd4bee2-9e/s2048x3072/c851e85765add7619586a9e5a742296a85a86f2d.pnj" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="581" data-original-width="800" height="291" src="https://64.media.tumblr.com/31dd1e681c4a5cc85a30663492b094d0/5cf796a7fdd4bee2-9e/s2048x3072/c851e85765add7619586a9e5a742296a85a86f2d.pnj" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Primeiro temos A História de Olympia. Em Paris,
um jovem Hoffmann se apaixona por Olympia (Moira Shearer), uma boneca.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">First we have The Tale of Olympia. In Paris, a young
Hoffmann falls in love with Olympia (Moira Shearer), an automaton.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/18596226b26265f3afd4661db7fdecde/9c4172dd1e130351-c5/s540x810/9f4a7e505cdcc075f6ba9bd06037847a6e6124af.gifv" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="386" data-original-width="540" height="286" src="https://64.media.tumblr.com/18596226b26265f3afd4661db7fdecde/9c4172dd1e130351-c5/s540x810/9f4a7e505cdcc075f6ba9bd06037847a6e6124af.gifv" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Depois há A História de Giulietta. Em Veneza,
Hoffmann encontra a cortesã Giulietta (Ludmilla Tchérina) num baile de
máscaras. Giulietta rouba almas e reflexos e gosta de usar joias suntuosas.
Aqui podemos ouvir a Barcarolle, provavelmente a música mais famosa em “Os
Contos de Hoffmann”.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Next there is The Tale of Giulietta. In Venice,
Hoffmann meets the courtesan Giulietta (Ludmilla Tchérina) in a masquerade.
Giulietta steals souls and reflections and likes to wear lavish jewelry. Here
we can hear the Barcarolle, probably the most famous song in “The Tales of
Hoffmann”.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://s3.amazonaws.com/criterion-production/editorial_content_posts/hero/403-/t26TXuZIF23nM1d2aeDROfATehkoAZ_small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://s3.amazonaws.com/criterion-production/editorial_content_posts/hero/403-/t26TXuZIF23nM1d2aeDROfATehkoAZ_small.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">A última história é A História de Antonia. Numa
ilha grega, Antonia (Ann Ayars), uma cantora de ópera, vive com seu pai, um
maestro amargo que quer que ela pare de cantar por causa de uma doença
incurável.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The final tale is The Tale of Antonia. On a Greek
island, Antonia (Ann Ayars), an opera singer, lives with her father, a bitter
conductor who wants her to stop singing because of an incurable disease.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/I/61AIlqahvxL._AC_UF894,1000_QL80_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="589" data-original-width="800" height="295" src="https://m.media-amazon.com/images/I/61AIlqahvxL._AC_UF894,1000_QL80_.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Além de Robert Rounseville, outros atores
aparecem em todas as histórias, como Robert Helpmann e Léonide Massine. Eu estava
esperando que todas as mulheres amadas por Hoffmann fossem interpretadas por
Moira Shearer, para repetir o que acontece em outro filme de Powell e
Pressburger, “Coronel Blimp: Vida e Morte” (1943), no qual todos os interesses
amorosos do protagonista são interpretados pela mesma atriz, no caso Deborah
Kerr. Eu vejo por que a mudança ocorreu em “Os Contos de Hoffmann”,
especialmente na última história, que pedia uma cantora de ópera.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Besides Robert Rounseville, other actors appear in all
stories, such as Robert Helpmann and Léonide Massine. I was expecting all women
loved by Hoffmann to be played by Moira Shearer, to repeat what happens in
another Powell and Pressburger movie, “The Life and Death of Colonel Blimp”
(1943), in which all the lead’s love interests are played by the same actress,
in this case Deborah Kerr. I see why the change is present in “The Tales of
Hofmann”, especially in the last story, that required a real opera singer.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/caecb7705224bd3d8d1d69ab0145e254/73ce517587debf9f-e9/s1280x1920/19f4da3632cca989c65f7b1733afd6534a20e50a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="543" data-original-width="750" height="290" src="https://64.media.tumblr.com/caecb7705224bd3d8d1d69ab0145e254/73ce517587debf9f-e9/s1280x1920/19f4da3632cca989c65f7b1733afd6534a20e50a.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Um personagem que chamou minha atenção foi
Nicklaus, fiel amigo de Hoffmann que está sempre ao seu lado em suas aventuras,
interpretado por Pamela Brown. É claramente um personagem andrógino, que na
ópera original também era interpretado por uma mulher. Nicklaus canta em alguns
momentos – nos quais a voz de Brown é dublada pela popular cantora Monica
Sinclair. Pamela Brown, apesar de ter artrite, o que limitava sua mobilidade,
foi uma atriz de sucesso e teve um relacionamento com Michael Powell entre 1962
e a morte dela em 1975.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">One character who called my attention was Nicklaus,
Hoffmann’s faithful friend who is always accompanying him in his adventures,
played by Pamela Brown. It’s clearly an androgynous character, that in the
original opera was also played by a woman. Nicklaus had a few singing moments –
in which Brown’s voice was dubbed by the popular singer Monica Sinclair. Pamela
Brown, despite having an arthritic condition that limited her mobility, was a
successful actress and was in a relationship with Michael Powell from 1962
until her death in 1975.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BNjdlNmRkYWYtNWI3OC00MjQ1LTgyMTQtNTM1NDFiZmRmNTY1XkEyXkFqcGdeQXRoaXJkLXBhcnR5LXZpZGVvLXVwZGF0ZXI@._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="480" height="300" src="https://m.media-amazon.com/images/M/MV5BNjdlNmRkYWYtNWI3OC00MjQ1LTgyMTQtNTM1NDFiZmRmNTY1XkEyXkFqcGdeQXRoaXJkLXBhcnR5LXZpZGVvLXVwZGF0ZXI@._V1_.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“Os Contos de Hoffmann” é originalmente uma ópera
de 1881 de Jacques Offenbach, inspirada pelos contos de E.T.A. Hoffmann – sim,
ele foi uma pessoa real! Além de inspirar esta ópera, os escritos de Hoffmann
também serviram de inspiração para “O Quebra-Nozes” de Tchaikovsky e o balé “Coppelia”.
Nada mau, considerando que Hoffmann foi também compositor. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“The Tales of Hoffmann” is originally an opera by Jacques
Offenbach from 1881, coming from three short stories by E.T.A. Hoffmann – yes,
he was a real person! Besides inspiring this opera, Hoffmann’s writings also
inspired Tchaikovsky’s “The Nutcracker” and the ballet “Coppelia”. <span style="mso-spacerun: yes;"> </span>Not bad, considering that Hoffmann was also a
composer.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BMTA0ODgxMzY4MzdeQTJeQWpwZ15BbWU4MDU3NzgzMzIx._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="538" data-original-width="800" height="269" src="https://m.media-amazon.com/images/M/MV5BMTA0ODgxMzY4MzdeQTJeQWpwZ15BbWU4MDU3NzgzMzIx._V1_.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O processo de edição foi um pouco diferente
neste filme. A ópera completa foi pré-gravada, criando a trilha sonora, e mais
tarde o filme foi editado seguindo a música. “Os Contos de Hoffmann” realiza o
sonho de Powell de criar um filme que complementaria música já composta. Foi o
maestro Thomas Beecham que apresentou a ópera de Offenbach para Powell. Por
causa da trilha pré-gravada, toda a cantoria foi filmada através de lip-synch,
o que aproxima a produção dos filmes mudos, algo difícil de se imaginar no caso
de um musical.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The editing process was a bit different in this film.
The whole opera was pre-recorded, creating the soundtrack, and later the film
was edited following the music. “The Tales of Hoffmann” fulfils Powell’s dream
to create a movie that would complement music already composed. It was the
conductor Thomas Beecham who introduced Powell to the Offenbach opera. Because
of the pre-recorded soundtrack, all singing was lip-synched, which makes the production
closer to silent films than we could imagine it would be. <span style="mso-spacerun: yes;"> </span></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://s3.amazonaws.com/criterion-production/editorial_content_posts/hero/894-/SbzmtHK4F4bIxVXoql6IL5jfcqcz1U_medium.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://s3.amazonaws.com/criterion-production/editorial_content_posts/hero/894-/SbzmtHK4F4bIxVXoql6IL5jfcqcz1U_medium.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O diretor de fotografia do filme foi Christopher
Challis, o que significa que Powell e Pressburger escolheram não dar
continuidade à parceria com Jack Cardiff. Challis foi operador de câmera em
outros filmes da dupla e era um mestre na fotografia de filmes coloridos. Sobre
ele, Scorsese disse: “Chris Challis trouxe uma vibração à paleta de celuloide
que foi inteiramente sua, e que ajudou a fazer da Inglaterra liderança naquele
longo e glorioso período de cinema clássico mundial.”<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">The film was photographed by Christopher Challis,
which means that Powell and Pressburger chose not to repeat their partnership
with Jack Cardiff. Challis had been a camera operator in other films by the duo
and was a master at shooting color films. About him, Scorsese said: “</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Chris Challis brought a
vibrancy to the celluloid palette that was entirely his own, and which helped
make Britain a leader in that long, glorious period of classic world cinema."</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://trailersfromhell.com/wp-content/uploads/2022/06/6743topHoff.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="317" data-original-width="729" height="174" src="https://trailersfromhell.com/wp-content/uploads/2022/06/6743topHoff.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Quando “Hamilton” (2020) foi barrado no Oscar
por ser “teatro filmado”, um debate teve início. “Os Contos de Hofmann”, que poderiam
similarmente ser chamado de “ópera filmada”, foi indicado a dois Oscars em
1952: Melhor Direção de Arte – Cor e Melhor Design de Figurino – Cor – ambos os
prêmios foram para outro musical, “Sinfonia de Paris”. E não podemos dizer que
a produção de 1951 era simplesmente “ópera filmada”, pois tem edição – uma
técnica exclusiva do cinema – e usa composições e ângulos de câmera que não
representam a visão de um espectador num teatro. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">When “Hamilton” (2020) was barred from the Oscars for
being “filmed theater”, a debate ignited. “The Tales of Hoffmann”, that could
similarly be called “filmed opera”, was nominated for two Oscars in 1952: Best
Art Direction – Color and Best Costume Design – Color – both awards went to
another musical, “An American in Paris”. And we can’t say that the 1951 production
was simply “filmed opera”, as it has editing – a technique exclusive to cinema
– and uses compositions and camera angles that don’t represent a viewer’s view
in a theater.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://64.media.tumblr.com/db9b75db1af49c0b6cda2d9a0498fd94/5cf796a7fdd4bee2-f6/s2048x3072/037d29bdc4ae0cb05ec0118a1e0f60b15aca4272.pnj" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="581" data-original-width="800" height="291" src="https://64.media.tumblr.com/db9b75db1af49c0b6cda2d9a0498fd94/5cf796a7fdd4bee2-f6/s2048x3072/037d29bdc4ae0cb05ec0118a1e0f60b15aca4272.pnj" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Fico feliz por finalmente ter assistido a “Os
Contos de Hoffmann”, embora eu desejasse tê-lo visto na tela grande, para
aproveitar o espetáculo, e com legendas, para melhor entender o que estava
sendo cantado. Ele não entrou no meu Top 3 de Powell e Pressburger – que consiste
de <b><a href="https://criticaretro.blogspot.com/2020/01/coronel-blimp-vida-e-morte-1943-life.html" target="_blank">“Coronel Blimp: Vida e Morte” (1943)</a></b>, “Os Sapatinhos Vermelhos” (1948) e meu
grande favorito <b><a href="https://criticaretro.blogspot.com/2016/08/neste-mundo-e-no-outro-matter-of-life.html " target="_blank">“Neste Mundo e no Outro” (1946)</a></b>.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">I’m happy I finally watched “The Tales of Hoffmann”,
although I wish it was on the big screen, to see the spectacle, and with
subtitles, to better understand what was being sung. It didn’t enter my Powell
and Pressburger Top 3 – that consists of <b><a href="https://criticaretro.blogspot.com/2020/01/coronel-blimp-vida-e-morte-1943-life.html" target="_blank">“The Life and Death of Colonel Blimp”(1943)</a></b>, “The Red Shoes” (1948) and my big favorite <b><a href="https://criticaretro.blogspot.com/2016/08/neste-mundo-e-no-outro-matter-of-life.html " target="_blank">“A Matter of Life and Death”(1946).</a></b></span><span style="color: #1d2228;"><o:p></o:p></span></span></i></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com1tag:blogger.com,1999:blog-5719905867000998397.post-6282972264654533012023-09-23T18:02:00.000-03:002023-09-23T18:02:27.399-03:00A Família do Gênio (1952) / Belles on Their Toes (1952)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Um dos meus filmes favoritos que pode ser
chamado de “tesouro escondido” é “Papai Batuta”, comédia de 1950. Apesar de ser
divertido e adorável, tem momentos dramáticos e é um deles que torna o filme
tão bom. Perto do final, ao receber más notícias por telefone, Lillian Moller
Gilbreth (interpretada por Myrna Loy) diz tudo o que está sentindo somente com
o olhar. Isto é, obviamente, prova do talento incrível e normalmente
subestimado de Myrna Loy. Já que “Papai Batuta” é um dos meus filmes favoritos,
eu me pergunto por que demorei tanto para ver a sequência, “A Família do Gênio”,
de 1952. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">One of my favorite films that can be called a “hidden
gem” is the 1950 comedy “Cheaper by the Dozen”. Besides being funny and
adorable, it has dramatic moments and it’s one of them that makes the film so
good. Near the end, while receiving bad news on the telephone, Lillian Moller
Gilbreth (played by Myrna Loy) says everything she’s feeling only with her
eyes. This is, of course, proof of Myrna Loy’s incredible and often overlooked
talent. Being “Cheaper by the Dozen” one of my favorite films, I wonder why it
took me so long to watch the sequel, “Belles on Their Toes”, from 1952.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://upload.wikimedia.org/wikipedia/en/f/f1/Belles_on_Their_Toes_-_Film_Poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="388" data-original-width="257" height="400" src="https://upload.wikimedia.org/wikipedia/en/f/f1/Belles_on_Their_Toes_-_Film_Poster.jpg" width="265" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">A história começa no tempo presente: é o dia da
formatura de Jane, a mais nova dos Gilbreth. Sua família toda está lá para
assistir à cerimônia, incluindo a mãe Lillian (Myrna Loy), que começa a
relembrar o passado. Num flashback, somos transportados para os anos 1920,
quando uma recém-viúva Lillian tem de tomar conta de doze filhos e ainda
apresentar as palestras que seu marido havia sido convidado a apresentar antes
de sua morte repentina.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">The story begins in the present day: it’s graduation day for
Jane, the youngest Gilbreth. Her whole family is there to watch the ceremony,
including her mother Lillian (Myrna Loy), who starts remember the past. In
flashback, we’re transported to the 1920s, when a recently widowed Lillian has
to take care of twelve children and also give the speeches her husband had been
asked to give before dying suddenly.</span><o:p></o:p></span></i></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://m.media-amazon.com/images/M/MV5BYzU0Njg5M2ItNmYwNC00ODVhLWEyOTYtNDNhZGE3ZTI3Mzg1XkEyXkFqcGdeQXVyNzU1NzE3NTg@._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="480" height="300" src="https://m.media-amazon.com/images/M/MV5BYzU0Njg5M2ItNmYwNC00ODVhLWEyOTYtNDNhZGE3ZTI3Mzg1XkEyXkFqcGdeQXVyNzU1NzE3NTg@._V1_.jpg" width="400" /></a></i></span></div><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br /><div style="text-align: justify;"><span style="background-color: transparent; font-size: 15pt;">Quando Lillian está fora de casa e também quando está cuidando
de assuntos administrativos – ela é uma engenheira à procura de trabalho,
afinal – as crianças devem obedecer à irmã mais velha dos Gilbreth, Anne
(Jeanne Crain). Estes são tempos difíceis para Anne, que teve de desistir da
faculdade para cuidar de seus irmãos, porém há romance e muita diversão no
horizonte para ela e os demais Gilbreths.</span></div>
</span></i></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">While Lillian is away and also when she’s taking care
of administrative issues – she’s an engineer looking for a job, after all – the
children must obey the older Gilbreth, Anne (Jeanne Crain). These are hard
times for Anne, who had to drop out of college to take care of her siblings,
but there is romance and lots of fun in the horizon for her and the other
Gilbreths.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://1.bp.blogspot.com/-DyY1hJA2rAU/UWOM-_dm-hI/AAAAAAAAFD0/YECqBga5gfQ/s1048/Screen+shot+2013-03-29+at+10.07.04+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="791" data-original-width="1048" height="303" src="https://1.bp.blogspot.com/-DyY1hJA2rAU/UWOM-_dm-hI/AAAAAAAAFD0/YECqBga5gfQ/w400-h303/Screen+shot+2013-03-29+at+10.07.04+AM.png" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">A subtrama que mais chamou minha atenção
consiste em Lillian ser chamada para fazer um discurso no clube de engenheiros.
Entretanto, quando eles descobrem que L.M. Gilbreth é uma mulher, eles cancelam
o convite, porque mulheres não são permitidas no clube de engenheiros. Por
causa disso, o senhor Harper (Edward Arnold), cujos empregados foram treinados
por Lillian para se tornarem mais eficientes, promete torná-la conhecida no
país inteiro. O resultado do esforço do senhor Harper é um newsreel – curta informativo
que era exibido antes dos filmes – que mostra a família jantando, algo que o
público do cinema acha muito engraçado, provocando o riso generalizado. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">The subplot that called my attention has Lillian asked to
give a speech at the engineer’s club. However, when they find out that L.M.
Gilbreth is a woman, they cancel the speech, because women aren’t allowed at
the engineer’s club. Because of this, Mr Harper (Edward Arnold), whose
employees were trained by Lillian for efficiency, vows to make her well-known
in the whole country. The result of Mr Harper’s effort is a newsreel that shows
the family at dinner, something the people in the theater find amusing, causing
lots of laughter.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://i.ytimg.com/vi/FeZwMz0FEMs/hqdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="480" height="300" src="https://i.ytimg.com/vi/FeZwMz0FEMs/hqdefault.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">“A Família do Gênio” é baseado em um livro de 1950 escrito por
dois dos filhos de Gilbreth, mas a história foi adaptada para as telas por
Phoebe e Henry Ephron. Se você está se perguntando, a resposta é SIM: há uma
conexão com a famosa roteirista e diretora Nora Ephron. Phoebe e Henry eram os
pais de Nora. Eles conseguiram escrever um filme bem divertido. Uma das minhas
partes favoritas é quando um rapaz é desclassificado de um concurso de dança
pelo senhor Harper, que estava fingindo ser um dos juízes, e reclama sobre o
fato, ao que o senhor Harper responde: “Você estava fazendo a versão sulista
dos passos de dança. </span><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Isso não é permitido em Nova Jersey!” <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><br />
<span style="background: transparent;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">“Belles on Their Toes” was based on a 1950 book
written by two of the Gilbreth kids, but the story was adapted to the screen by
Phoebe and Henry Ephron. If you’re wondering, the answer is YES: there is a
connection to famous screenwriter and director Nora Ephron. Phoebe and Henry
were Nora’s parents. They manage to write a very funny movie. One of my
favorite parts was when a young man is taken out of a dance contest by Mr
Harper, who was posing as a judge, and complains about it, Mr Harper answers:
“You we’re doing the Southern version of the steps. This is not allowed in New
Jersey!”.</span></span></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://i.ebayimg.com/images/g/j-wAAOSweP1hN2ox/s-l1600.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="654" data-original-width="800" height="327" src="https://i.ebayimg.com/images/g/j-wAAOSweP1hN2ox/s-l1600.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Enquanto “Papai Batuta” foi dirigido por Walter
Lang, a sequência foi dirigida pelo menos famoso Henry Levin. Começando como
ator de teatro no começo dos anos 1940, Levin foi contratado como diretor de diálogos
pelos estúdios Columbia em meados da década. Ele dirigiu mais de 50 filmes em
diversos estúdios. “A Família do Gênio” foi seu primeiro filme para a 20th
Century Fox.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">While “Cheaper by the Dozen” was directed by Walter Lang, the
sequel was directed by the less famous Henry Levin. Starting as a stage actor
in the early 1940s, Levin was hired as a dialogue director for Columbia
Pictures by the middle of the decade. He went on to direct over 50 films in
several studios. “Belles on Their Toes” was his first film for 20th Century Fox.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BMzgwYWQ4MzEtNzkwZi00ZDU4LTk1NzMtMWE2YzU3N2NiODFkXkEyXkFqcGdeQXVyMjU5OTg5NDc@._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="652" data-original-width="506" height="400" src="https://m.media-amazon.com/images/M/MV5BMzgwYWQ4MzEtNzkwZi00ZDU4LTk1NzMtMWE2YzU3N2NiODFkXkEyXkFqcGdeQXVyMjU5OTg5NDc@._V1_.jpg" width="310" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Jeanne Crain é uma das minhas atrizes subestimadas
favoritas. Ela é competente tanto no drama quanto na comédia, e está muito
charmosa neste filme, que pede dela somente isso: ser charmosa. Ela foi
indicada ao Oscar por sua performance em “O que a Carne Herda” (1949) e teve
como hobby a pintura, algo que eu explorei <b><a href="https://criticaretro.blogspot.com/2019/05/jeanne-crain-pintora-jeanne-crain.html " target="_blank">AQUI</a></b>.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Jeanne Crain is one of my favorite underrated
actresses. She’s competent in both drama and comedy, and is very charming in
this movie, a movie that required only that from her: to be charming. She was
nominated for an Oscar for her performance in “Pinky” (1949) and had painting
as a hobby, something I explored <b><a href="https://criticaretro.blogspot.com/2019/05/jeanne-crain-pintora-jeanne-crain.html " target="_blank">HERE</a></b>.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://content.internetvideoarchive.com/content/hdphotos/9775/009775/009775_571x428_823045_088.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="428" data-original-width="571" height="300" src="https://content.internetvideoarchive.com/content/hdphotos/9775/009775/009775_571x428_823045_088.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Nem tão bom quanto seu predecessor, mas bom
entretenimento mesmo assim. “A Família do Gênio” não foi feito para ser uma
obra-prima do cinema, mas diverte, é charmoso e nos faz rir. Pedir o que mais?<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Not as good as its predecessor, but nice entertainment
nonetheless. “Belles on Their Toes” wasn’t made to be a masterpiece of cinema,
but it amuses, charms and makes us laugh. Who could ask of anything more?<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">This is my contribution to the <b><a href="https://takinguproom.com/2023/09/22/the-everything-is-copy-blogathon-has-arrived/" target="_blank">Everything is Copy blogathon</a></b>,
honoring the Ephron family at the movies, hosted by Rebecca at Taking Up Room.</span><span style="color: #1d2228;"><o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://takinguproom.files.wordpress.com/2023/05/everythingiscopy2.jpg?w=744&h=390" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="389" data-original-width="744" height="209" src="https://takinguproom.files.wordpress.com/2023/05/everythingiscopy2.jpg?w=744&h=390" width="400" /></a></i></div><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><br /></span></i><p></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com2tag:blogger.com,1999:blog-5719905867000998397.post-72137762717949008062023-09-15T22:17:00.004-03:002023-09-15T22:20:23.392-03:00Disney’s Laugh-O-Grams<p style="text-align: justify;"><span style="color: #cc0000;"> <span style="background-color: transparent; font-family: Georgia, serif; font-size: 15pt; text-align: justify;">Quando ele falava sobre seu Império, Walt
Disney costumava dizer que “tudo começou com um camundongo”. Isto é mentira.
Antes que Mickey Mouse aparecesse nas telas pela primeira vez em novembro de 1928,
Walt Disney havia criado outro estúdio, o estúdio Laugh-O-Gram, em 1921, e fez
onze curtas, que eram ou animações ou misturas de animação com live-action.</span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">When talking about his Empire, Walt Disney used to say
“It all started with a Mouse”. This is a lie. Before Mickey Mouse graced the
screen for the first time in November 1928, Walt Disney had created another
studio, the Laugh-O-Gram Studio, in 1921, and made eleven shorts, that were
either animations or mixes of animation with live-action. <o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><br /></span></span></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQf0hmWQyE4QmJZJkrICHM-exQTeUr-6lSC_L285RgcJZSQOe2UVAMXLLTz2I4fmBX0uEgvR3fTZsJame8U2J-tQgWgUpdCKvgr3V1-AIUVUfaB26t3PyKs2GcdhKVK3JJmq61omnHOCk5wT6kQveRFSN0tbOGvcmVUsdN9Uzjaw3HhJGd1SQ02W-KjKU/s691/log.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="545" data-original-width="691" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQf0hmWQyE4QmJZJkrICHM-exQTeUr-6lSC_L285RgcJZSQOe2UVAMXLLTz2I4fmBX0uEgvR3fTZsJame8U2J-tQgWgUpdCKvgr3V1-AIUVUfaB26t3PyKs2GcdhKVK3JJmq61omnHOCk5wT6kQveRFSN0tbOGvcmVUsdN9Uzjaw3HhJGd1SQ02W-KjKU/w400-h315/log.jpg" width="400" /></a></div>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Localizado em Kansas City, Missouri, o estúdio
Laugh-O-Gram foi fundado em 1921 e fechou as portas em 1923, quando Disney foi
para Hollywood. Os curtas que Disney fez lá eram quase todos adaptações pouco
fiéis de contos de fadas. Vamos olhar para estes curtas individualmente.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Located in Kansas City, Missouri, the Laugh-O-Gram
Studio was founded in 1921 and closed in 1923, when Disney went to Hollywood. The
short films Disney made there were almost all very loose adaptations of fairy
tales. Let’s take an individualized look at them.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpv56DzW2yDjame19q2aBpEXi5bqJkNBeazZLtYNyel6lWug16bUQvH0yzvdaK6EseFZ8GvX_V5SG5du94L42DphR4rXNJgU9U9gcY4RIHQB-UVvxOqJzkuOcWFYR34_nAXDFJHbueq7270if8_h0nz738boltefhXOi3mVF0l8ArLsCdVupaVhSBCrJ8/s899/log-puss.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="899" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpv56DzW2yDjame19q2aBpEXi5bqJkNBeazZLtYNyel6lWug16bUQvH0yzvdaK6EseFZ8GvX_V5SG5du94L42DphR4rXNJgU9U9gcY4RIHQB-UVvxOqJzkuOcWFYR34_nAXDFJHbueq7270if8_h0nz738boltefhXOi3mVF0l8ArLsCdVupaVhSBCrJ8/w400-h245/log-puss.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">A primeiríssima animação que Disney fez foi
“Newman Laugh-O-Grams”, uma série de desenhos a serem exibidos no Newman
Theater, um negócio local. Primeiro vemos Disney em sua mesa e ele faz alguns
desenhos, com a parte final sendo uma animação bem curtinha sobre uma delegacia
de polícia. É relevante por ser o primeiro trabalho de Disney e eu fico feliz
que ainda esteja disponível, mas não é nada extraordinário.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The very first animation Disney did was “Newman
Laugh-O-Grams”, a series of cartoons to be exhibited at the local Newman
Theater. We first see Disney on his desk and he goes on to do some drawings,
with the last part being a very short animation about a police district. It’s
relevant as Disney’s first work and I’m glad it’s still available, but it’s not
extraordinary.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnNiVtrqwtk3KmiW7JuxZy-2zVMeDyzQxVFS8HRCh6F594_6bEkUV3YBha5bB5cTMHrVflEZEJ23WbnX1jHAio2LkOSxH9jrONXjOlXxEMstdfCUf-t4B5GePGU-ZIvNxortOiMyAS3dLZVX58_RxLo1El71K8zhwk0xHBj_zMAJlPYSW5nE6rF6AmkHc/s749/log-neman.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="557" data-original-width="749" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnNiVtrqwtk3KmiW7JuxZy-2zVMeDyzQxVFS8HRCh6F594_6bEkUV3YBha5bB5cTMHrVflEZEJ23WbnX1jHAio2LkOSxH9jrONXjOlXxEMstdfCUf-t4B5GePGU-ZIvNxortOiMyAS3dLZVX58_RxLo1El71K8zhwk0xHBj_zMAJlPYSW5nE6rF6AmkHc/w400-h297/log-neman.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">A seguir vem “Chapeuzinho Vermelho” (1922). O
curta começa com um minuto de um gato usando uma arma para fazer buracos em
rosquinhas. Depois de mais algumas estripulias felinas, somos apresentados à
Chapeuzinho Vermelho, que vai entregar alguns donuts para a vovozinha. O vilão
não é o lobo, mas um homem bem-vestido, e o herói não é um caçador, mas um
menino com um avião. Chapeuzinho também tem a companhia de seu fiel cão aqui. <i> <o:p></o:p></i></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Next up is “Little Red Riding Hood” (1922). It starts
with one minute of a cat using a gun to make holes on donuts. After some more
feline shenanigans, we’re introduced to Little Red Riding Hood, who will
deliver some donuts to her grandma. The villain is not the wolf, but a
well-dressed man, and the hero isn’t a hunter, but a boy with an airplane.
Little Red also has the company of her faithful dog here.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB1fh9fq_qNbTkGvZfuqHltMWB72Km3QFv2nv56yJeQi-50sO8bwOoEbSbU9BpPrxBBgmN5T9dbZOKvVw_dHvrisrP9W3dmS-V9pXI1asAPYJyp8bV0Q307M3vskX9J4dIlbcwVWhDYMluKHQXuSe5HxBfHAjtG3uAuhb4oUUSwjB0fIXGU5a2s-adr3U/s851/log-littlered.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="851" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB1fh9fq_qNbTkGvZfuqHltMWB72Km3QFv2nv56yJeQi-50sO8bwOoEbSbU9BpPrxBBgmN5T9dbZOKvVw_dHvrisrP9W3dmS-V9pXI1asAPYJyp8bV0Q307M3vskX9J4dIlbcwVWhDYMluKHQXuSe5HxBfHAjtG3uAuhb4oUUSwjB0fIXGU5a2s-adr3U/w400-h259/log-littlered.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Depois temos o que é descrito nos créditos
principais como “uma versão modernizada do velho conto de fadas” “Os Quatro
Músicos de Bremen” (1922). Os quatro músicos são um gato, um cão, um pássaro e um
burro, e este curta é uma viagem. Há peixes que caminham e dançam, e também
balas de canhão que atingem as paredes da casa onde estão nossos heróis e são
catapultadas de volta. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Then we have what is described in the main title card
as “A modernized version of that old fairy tale” “The Four Musicians of Bremen”
(1922). The four musicians are a cat, a dog, a bird and a donkey, and this
little film is a real trip. There are walking and dancing fish, as well as
cannonballs that hit the walls of the house our heroes are in and bounce back.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNxtQIed0N23Qupd2TqXYINmLV9A332H2VKacP6fLlXq3JEG7792GA8oSZ7E7FRbXOMC6LlmE4uNrDbpy7YZ53ceAXZc4vEAJnyeDbONY82Lopl31PBsDqLbUxXCy8P6vbrNxBSUDbpBAwYBP1E-QxLGQ_s53c0wePEwoVHmGYbDbC8meDoGTxEm38ASM/s899/log-fourmusicians.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="547" data-original-width="899" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNxtQIed0N23Qupd2TqXYINmLV9A332H2VKacP6fLlXq3JEG7792GA8oSZ7E7FRbXOMC6LlmE4uNrDbpy7YZ53ceAXZc4vEAJnyeDbONY82Lopl31PBsDqLbUxXCy8P6vbrNxBSUDbpBAwYBP1E-QxLGQ_s53c0wePEwoVHmGYbDbC8meDoGTxEm38ASM/w400-h244/log-fourmusicians.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Também de 1922 temos “Jack o Matador de
Gigantes”. Acompanhado de um gato e um cão, um menino chamado Jack chega à
terra dos gigantes e deve vencê-los para salvar uma menina chamada Susie. Com
diversos animais selvagens fazendo coisas interessantes, esta é mais uma parte
curiosa da série. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Also from 1922
we have “Jack the Giant Killer”. Accompanied by a cat and a dog, a boy named J</span></i><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">ack arrives in the land
of giants and must outsmart the giants to save a girl named Susie. With several
jungle animals doing interesting things, this is another curious entry on the
series.</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoTnu0sAYIKFVDwUVwdIy06WL8PeGx24eEJj8OQZePW_UiXJgZvo5j2I5y5xLJ4_bnO_RcTBAV-rNON_bZAa9twuKY-Lqq3MCjjfwYre5y2dyXwlcKA2GpEtYWKm8NLAKig2k2LKkR4R61wHEMmgZhG7OquBTI3FkKxTccCwpAORiUZa9Y2D-hcNW1tco/s693/log-giant.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="541" data-original-width="693" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoTnu0sAYIKFVDwUVwdIy06WL8PeGx24eEJj8OQZePW_UiXJgZvo5j2I5y5xLJ4_bnO_RcTBAV-rNON_bZAa9twuKY-Lqq3MCjjfwYre5y2dyXwlcKA2GpEtYWKm8NLAKig2k2LKkR4R61wHEMmgZhG7OquBTI3FkKxTccCwpAORiUZa9Y2D-hcNW1tco/w400-h313/log-giant.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O curta todo animado mais longo da série é
“Gato de Botas” (1922) - e não tem nada a ver com o conto de fadas. No desenho,
nossos velhos amigos Jack e Susie estão lá, assim como o gato preto, mas Susie
é uma princesa cujo pai, o Rei, não deixa que Jack a visite. Para solucionar
seu problema, Jack e o gato vão ver um filme de Rodolf Vaselino e o gato tem uma
ideia: Jack compra para o felino um par de “botas da moda” e o gato ajuda Jack
a demonstrar sua bravura numa tourada. Aqui, em vez de muitas cartelas de
títulos, o diálogo é mostrado em balões, como nas tirinhas e quadrinhos. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The longest all-animated short of the series is “Puss
in Boots” (1922) - and it has nothing to do with the fairy tale. In the
cartoon, our old friends Jack and Susie are there, alongside the black cat, but
Susie is a princess whose father, the King, doesn’t let Jack see her. To solve
his problem, Jack and the cat go watch a movie with Rodolf Vaselino and the cat
has an idea: Jack buys him a pair of “flapper boots” and the cat helps Jack
showcase his bravery in a bullfight. Here, instead of many title cards, the
dialogue is shown in balloons, like it happens in comic strips.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz2S5bgO8LbFpyu8xnmVk63kzTUB3MTajtQXX5iQEsr37OmkLGUjw3438yNJxnY5W66BxFGb6LAlrPOKdnApaT5QZkfnw5u5A22RwilG9Gd5mZMH2lkZPEmrkK34mqYPK9fQks3alvJG6dNzT4q8pFD2m6XlPUQOvIZOBuiXUl8GZ7gXByJ9tXfDY2GlU/s899/log-puss-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="553" data-original-width="899" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz2S5bgO8LbFpyu8xnmVk63kzTUB3MTajtQXX5iQEsr37OmkLGUjw3438yNJxnY5W66BxFGb6LAlrPOKdnApaT5QZkfnw5u5A22RwilG9Gd5mZMH2lkZPEmrkK34mqYPK9fQks3alvJG6dNzT4q8pFD2m6XlPUQOvIZOBuiXUl8GZ7gXByJ9tXfDY2GlU/w400-h246/log-puss-1.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O curta seguinte é “Cinderella” (1922). Com
duas irmãs más, mas nenhuma madrasta má, Susie é nossa Cinderella e Jack é o
príncipe que também é caçador - algo mostrado numa sequência bem pesada. A
história segue do jeito como todos conhecemos, e eles vivem felizes para
sempre. Há também romance reservado para o gato de Susie. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The following short is “Cinderella” (1922). With two
evil sisters but no evil stepmother in sight, Susie is our Cinderella and Jack
is the prince who is also a hunter - something established in a rather dark
sequence. The story follows as we all know, and they live happily ever after.
There is romance also for Susie’s cat.<o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR9lPDFjPVEs9G9qLbt_-WNM5ZX_apiJ3h6yO9hRP0hrBlFX_n1KEcL-Kcf9kmZFbH5uNn-EQAERLYFenjQdjnKtbT363O9ATaITGT5Kn24dL6UVhyecRJ2bkL70fGtz6JO62hEtirsPk-tbV3BKR61HlnASTX8u7odihtxH3lp3Lmng-0xzKiFR_oVm0/s899/log-cinderella.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="549" data-original-width="899" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR9lPDFjPVEs9G9qLbt_-WNM5ZX_apiJ3h6yO9hRP0hrBlFX_n1KEcL-Kcf9kmZFbH5uNn-EQAERLYFenjQdjnKtbT363O9ATaITGT5Kn24dL6UVhyecRJ2bkL70fGtz6JO62hEtirsPk-tbV3BKR61HlnASTX8u7odihtxH3lp3Lmng-0xzKiFR_oVm0/w400-h244/log-cinderella.jpg" width="400" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O último Laugh-O-Gram feito em 1922 foi “O
Dente de Tommy Tucker”. Em sua quase totalidade um curta em live-action, ele
conta a história dos amigos Jimmie Jones e Tommy Tucker. Jimmie, ao contrário
de Tommy, não cuidou bem de seus dentes, por isso teve dor de dente e
prejudicou sua saúde e até sua carreira por causa de seus maus hábitos de
higiene. Este curta educativo foi encomendado por um dentista local chamado
Thomas B. McCrum, que pagou 500 dólares a Disney pelo filme.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The final Laugh-O-Gram made in 1922 was “Tommy
Tucker’s Tooth”. Mostly a live-action short, it tells the story of pals Jimmie
Jones and Tommy Tucker. Jimmie, unlike Tommy, didn’t take proper care of his
teeth, so he got a toothache and his health and even career were harmed because
of his bad hygiene habits. This educational short was commissioned by a local
dentist named Thomas B. McCrum, who paid Disney 500 dollars for the film.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoCh9YxWW0Cy5RDTQL8ysfDf-LqL3ZbQ27SkQXBPnRv50ilIjIVy3CubXFjLkaY0Q6oifc5GFoOWWJLc6kLKYcTScyWiZnpXg0BOxA9CFie-w0bkaDLzuXJBcQS1bWo3VzdvAf9pEi_ZoD2nPDULYhqc3daTJxAe6fmztPpbhdX0wIBFC6iUx2gTWohGo/s899/log-tootht.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="555" data-original-width="899" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoCh9YxWW0Cy5RDTQL8ysfDf-LqL3ZbQ27SkQXBPnRv50ilIjIVy3CubXFjLkaY0Q6oifc5GFoOWWJLc6kLKYcTScyWiZnpXg0BOxA9CFie-w0bkaDLzuXJBcQS1bWo3VzdvAf9pEi_ZoD2nPDULYhqc3daTJxAe6fmztPpbhdX0wIBFC6iUx2gTWohGo/w400-h248/log-tootht.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Em 1923, à beira da falência, o estúdio
Laugh-O-Gram fez um último filme: “Alice’s Wonderland”. Uma mistura de
live-action e animação, é o piloto para a série sobre Alice que seria
desenvolvida por Disney em Hollywood, e Virginia Davis, uma modelo mirim do
Kansas, já interpreta o papel que lhe daria fama. Alice visita o estúdio de
Disney e, naquela noite, sonha que está em Cartoonland, interagindo com todas
aquelas criaturas animadas. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">In 1923, on the verge of bankruptcy, the Laugh-O-Gram
Studios made one final film: “Alice’s Wonderland”. A mix of live-action and
animation, it’s the pilot for the Alice series that would be developed by
Disney in Hollywood, and Virginia Davis, a local Kansas child model, already
plays the role that would make her famous. Alice visits Disney’s studio and
that night, she dreams she is in Cartoonland, interacting with all those
animated creatures.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4rnXLC-wD8EtBxSENhtk8Xw__S8tTkKJLvJ592Wn20QV-Nqgst8-e44Z0eCPKHb6PInCDXtge5r99Yvo8PGkViIOidKaWPmV5VXBZ-8a_BvpqemIzZcJRLEZuDeUsaxcbOvKXNwWOoREuZ0ncm3tp5DqR0KjcWblV0p4QZHmlkBo86tgUGysnxKGBJTk/s749/log-alice.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="547" data-original-width="749" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4rnXLC-wD8EtBxSENhtk8Xw__S8tTkKJLvJ592Wn20QV-Nqgst8-e44Z0eCPKHb6PInCDXtge5r99Yvo8PGkViIOidKaWPmV5VXBZ-8a_BvpqemIzZcJRLEZuDeUsaxcbOvKXNwWOoREuZ0ncm3tp5DqR0KjcWblV0p4QZHmlkBo86tgUGysnxKGBJTk/w400-h293/log-alice.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">O gato preto que aparece em muitos dos
Laugh-O-Grams mais tarde seria batizado de Julius e se tornaria o fiel
companheiro de Alice nas Alice Comedies - o que faz de Julius, não Mickey nem
Osvaldo o Coelho Sortudo, o primeiro personagem animado recorrente de Disney.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The black cat that appears in many of the
Laugh-O-Grams would later be named Julius the Cat and would become Alice’s
faithful companion in the Alice Comedies - which makes Julius, not Mickey nor
Oswald the Lucky Rabbit, the first re-occurring animation character from
Disney.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Alice's_Egg_Plant_(1925).png/220px-Alice's_Egg_Plant_(1925).png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="153" data-original-width="220" height="278" src="https://upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Alice's_Egg_Plant_(1925).png/220px-Alice's_Egg_Plant_(1925).png" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Dos Laugh-O-Grams feitos, apenas um, “Martha”
(1923), permanece perdido. Todos os outros estão em domínio público, mas apenas
os mencionados aqui estão disponíveis para serem vistos na <b><a href="https://en.wikipedia.org/wiki/Laugh-O-Gram_Studio " target="_blank">página da Wikipédia</a></b>.
Embora existam, “Jack e o Pé de Feijão” e “Cachinhos Dourados e os Três Ursos”
não estão disponíveis online. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Out of the Laugh-O-Grams made, only one, “Martha”
(1923), remains lost. All of the others are in the public domain, but only the
ones mentioned here are available to be seen on <b><a href="https://en.wikipedia.org/wiki/Laugh-O-Gram_Studio " target="_blank">the Wikipedia page</a></b>. Although
extant, “Jack and the Beanstalk” and “Goldie Locks and the Three Bears” are not
available online.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #cc0000;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEginsfQ-fzsyPzcSjv15iRadOhH6eAkut7hY5f-rku_kwWjQ6Sx3Vigt8gwxFRJK0RLsJNJkBkVGBw2wUp7_y7NBiiAGE9AmR_rVjYdRBdzhPTYic_ZW9kXeNYjH7SvzHGDNIxjECIFjP5neJC79uYVPqdImDNZMn-u5TsRdPZcqdC8ANNXXTkOWmoFqEA/s741/log-alice1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="555" data-original-width="741" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEginsfQ-fzsyPzcSjv15iRadOhH6eAkut7hY5f-rku_kwWjQ6Sx3Vigt8gwxFRJK0RLsJNJkBkVGBw2wUp7_y7NBiiAGE9AmR_rVjYdRBdzhPTYic_ZW9kXeNYjH7SvzHGDNIxjECIFjP5neJC79uYVPqdImDNZMn-u5TsRdPZcqdC8ANNXXTkOWmoFqEA/w400-h300/log-alice1.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Os Laugh-O-Grams de Disney não são obras-primas
da animação. Algumas ideias e mesmo sequências são repetidas ao longo da série
- como as nove vidas de um gato saindo do corpo do animal - e a animação e
mesmo os traços são muito simples. Eles são, entretanto, artefatos históricos
de interesse e, mais uma vez, fico feliz que tenham sobrevivido ao teste do
tempo.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The Disney Laugh-O-Grams are not masterpieces of
animation. Some ideas and even sequels are repeated throughout the series -
like the cat’s nine lives leaving the animal’s body - and the animation and
even drawing are very simple. They are, however, historical artifacts of
interest and, once again, I’m glad they survived the test of time.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 115%;"><span style="color: #cc0000;">This is my
contribution to the <b><a href="https://silverscenesblog.blogspot.com/2023/09/the-100-years-of-disney-blogathon-has.html" target="_blank">100 Years of Disney blogathon,</a></b> hosted by the girls Diana
and Constance at Silver Scenes.</span></span></i><div><span style="color: #cc0000; font-family: Georgia, serif;"><span style="font-size: 20px;"><i><br /></i></span></span><div><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 115%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0FwFv5zb4pOHiPlIy5hxnJMar2gePSwdT1Wi8huVt-GVjwwzrlP93A94WjSg6WuuelITpbXeCwvrlkRRbtw3K1piUxNLVzXWiLoCqqvPk7xFhCfjJmLIvLzsPXYrz4Fjaz54xj4bFP5jh5NQcucRPgW1iLjsbOgdh49pJUxeIrSv5ocKuALQq1o5Gpg/s320/DisneyBanner-MaryPoppins1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="202" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0FwFv5zb4pOHiPlIy5hxnJMar2gePSwdT1Wi8huVt-GVjwwzrlP93A94WjSg6WuuelITpbXeCwvrlkRRbtw3K1piUxNLVzXWiLoCqqvPk7xFhCfjJmLIvLzsPXYrz4Fjaz54xj4bFP5jh5NQcucRPgW1iLjsbOgdh49pJUxeIrSv5ocKuALQq1o5Gpg/w253-h400/DisneyBanner-MaryPoppins1.jpg" width="253" /></a></div><br /><span style="color: #cc0000;"><br /></span></span></i></div></div>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com4tag:blogger.com,1999:blog-5719905867000998397.post-4462187017621586572023-08-28T18:16:00.002-03:002023-09-14T16:58:34.391-03:00Viagem à Itália (1954) / Journey to Italy (1954)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Quando Ingrid Bergman deixou Hollywood e um
casamento sólido e escolheu a Itália e um romance com o diretor Roberto
Rossellini, foi um escândalo. Este episódio é tão conhecido dentro da biografia
de Bergman que às vezes os filmes que ela fez com Rossellini são ofuscados pelo
escândalo. Este pequeno conjunto de seis filmes inclui “Stromboli” (1950), a
obra-prima <b><a href="https://criticaretro.blogspot.com/2017/08/europa-51-1952.html" target="_blank">“Europa ‘51” (1952)</a></b>, uma recontagem da história de Joana D’Arc e
esta curiosa “Viagem à Itália”.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">When Ingrid Bergman left Hollywood and a solid
marriage and chose Italy and a romance with director Roberto Rossellini, it was
a scandal. This episode is so well-known inside Bergman’s biography that
sometimes the movies she did with Rossellini are obfuscated by the scandal.
This little oeuvre of six films includes “Stromboli” (1950), the masterpiece
<b><a href="https://criticaretro.blogspot.com/2017/08/europa-51-1952.html" target="_blank">“Europa ‘51” (1952)</a></b>, a re-telling of Joan of Arc’s story and this curious
“Journey to Italy”.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://pics.filmaffinity.com/Journey_to_Italy-581849396-large.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="614" data-original-width="443" height="400" src="https://pics.filmaffinity.com/Journey_to_Italy-581849396-large.jpg" width="289" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Esta é a história da primeira vez em que o
casal Katherine (Ingrid Bergman) e Alex (George Sanders) fica sozinho de
verdade desde que se casaram. Eles estão na Itália por causa de uma herança,
mas não ficarão sozinhos por muito tempo, pois encontram velhos conhecidos e
fazem novas amizades em jantares nos quais ambos desaprovam que o outro se
divirta com outras pessoas. Entre as ruínas eles discutem e parecem chegar a um
ponto de virada no relacionamento.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">This is the story of the first time the couple Katherine (Ingrid
Bergman) and Alex (George Sanders) is truly alone ever since they got married.
They are in Italy because of an inheritance, but they won’t stay alone for
long, as they meet old acquaintances and make new friends in dinners where both
dislike that the other has fun with other people. Among the ruins, they have
their arguments and seem to arrive at a crossroads in their relationship.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BYzI3MzE5YWMtZjI2Yi00MTIwLWEzYzQtOWI5OTIxODJmYTY0XkEyXkFqcGdeQXVyMDY3OTcyOQ@@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="610" data-original-width="800" height="305" src="https://m.media-amazon.com/images/M/MV5BYzI3MzE5YWMtZjI2Yi00MTIwLWEzYzQtOWI5OTIxODJmYTY0XkEyXkFqcGdeQXVyMDY3OTcyOQ@@._V1_.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Quando Katherine visita um museu na primeira
metade do filme, as peças em exibição são oriundas de Pompeia. A tragédia da
cidade tomada pelo vulcão séculos atrás assombra o casal, pois a vila que
herdaram tem como vista o Vesúvio. Ao voltar do museu, ela conta sua
experiência, dizendo que foi como se ela pudesse sentir como estas pessoas,
imortalizadas em estátuas, eram e o que elas queriam. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">When Katherine visits a museum in the first half of the film,
the pieces there are remains from Pompeii. The tragedy of the city engulfed by
the volcano centuries ago lingers on the couple, as the villa they inherited
has the Vesuvius as a view. After coming back from the museum, she chronicles
her experiences, saying that it was as if she could sense how those people immortalized
in statues were like and what they wanted.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://assets.mubicdn.net/images/film/1046/image-w1280.jpg?1546776011" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://assets.mubicdn.net/images/film/1046/image-w1280.jpg?1546776011" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Embora não creditada, a fonte para o filme foi
uma novela chamada “Duo”, da escritora Colette. Rossellini, junto com Vitaliano
Brancati, escreveu o roteiro. George Sanders escreveu em sua autobiografia que
rodar o filme foi uma experiência desesperadora, que ele realmente detestou.
Talvez tenha sido porque este é um filme feito por um Rossellini em mutação: o
diretor / roteirista / produtor estava abandonado o Neorrealismo e se comprometendo
com um novo tipo de Realismo. O método de trabalho de Rossellini –
especialmente o fato de ele trabalhar sem um roteiro – também desagradaram a
Sanders.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Although uncredited, the source of the film was a novel
called “Duo” by writer Colette. Rossellini, together with Vitaliano Brancati,
wrote the screenplay. George Sanders wrote in his autobiography that shooting
the film was an exasperating experience, one he truly disliked. Maybe it was
because this is a movie made by a changing Rossellini: the director / writer /
producer was abandoning the Neo-Realism and committing to a new kind of
Realism. Rossellini’s work methods – especially working without a script – also
displeased Sanders.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://static01.nyt.com/images/2013/05/01/arts/VOYAGE/VOYAGE-superJumbo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="493" data-original-width="800" height="247" src="https://static01.nyt.com/images/2013/05/01/arts/VOYAGE/VOYAGE-superJumbo.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Em 1953, quando o filme começou a ser rodado, Bergman
e Rossellini, como um casal, estavam em crise. O diretor também atravessava uma
crise financeira – ele só conseguiu financiamento para o filme através de um
industrial milanês que era seu fã. Quando as filmagens terminaram, Rossellini
demorou mais um ano e meio para conseguir um distribuidor para o filme, que foi
um fracasso de bilheteria e só agradou aos críticos da Cahiers du Cinéma –
aqueles jovens que revolucionariam o cinema com a Nouvelle Vague alguns anos
mais tarde.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">In 1953, when the movie started shooting, Bergman and
Rossellini, as a couple, were struggling. The director was also struggling
financially – he could only get financing for the movie through a Milanese
industrialist who was his fan. When filming ended, it took Rossellini a year
and a half to find a distributor, but the film performed poorly at the box
office and pleased only the critics from the Cahiers du Cinèma – those young men
who would revolutionize cinema with the Nouvelle Vague a few years later.</span><o:p></o:p></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"></span></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQq1OgFbyzG9XXD1rIIkD7C__2Af5VjOov0PcicWk35PEnVDzmjLiCYH-ZDqQqD2CgX4z8&usqp=CAU" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="224" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQq1OgFbyzG9XXD1rIIkD7C__2Af5VjOov0PcicWk35PEnVDzmjLiCYH-ZDqQqD2CgX4z8&usqp=CAU" width="400" /></a></i></span></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Ocupando a posição 72 na lista de Melhores
Filmes de Todos os Tempos da Sight and Sound de 2022, “Viagem à Itália” merece
o reconhecimento. Um melodrama sem vilão – ou um em que a vida e suas
atribulações são o vilão – o filme pode não ter me impressionado tanto quanto “Europa
‘51”, mas foi ótimo fazer esta viagem junto a Sanders e Bergman – e ao maestro
Rossellini, obviamente.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Ranked 72 in the 2022 Sight and Sound Best Movies of All Time
poll, “Journey to Italy” deserves the recognition. A melodrama without a
villain – or one where life and its tribulations is the villain – the film may
have not left an impression on me as big as “Europa ‘51”, but it was great to
take this journey alongside Sanders and Bergman – and maestro Rossellini, of
course.</span><o:p></o:p></span></i></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">This is my contribution to the <b><a href="https://thewonderfulworldofcinema.wordpress.com/2023/08/27/the-6th-wonderful-ingrid-bergman-blogathon-is-here/" target="_blank">6<sup>th</sup>
Wonderful Ingrid Bergman blogathon</a></b>, hosted by Virginie at The Wonderful World
of Cinema. </span><span style="color: #1d2228;"><o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://thewonderfulworldofcinema.files.wordpress.com/2023/07/capture-decran-2023-07-08-a-18.52.43.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="793" data-original-width="800" height="397" src="https://thewonderfulworldofcinema.files.wordpress.com/2023/07/capture-decran-2023-07-08-a-18.52.43.png" width="400" /></a></i></div><p></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com6tag:blogger.com,1999:blog-5719905867000998397.post-70811755860389277582023-08-22T21:01:00.001-03:002023-08-22T21:01:20.272-03:00Uma Aventura em Paris (1942) / Reunion in France (1942)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Durante alguns anos, nas décadas de 1930 e 1940, Joan Crawford
foi uma das atrizes mais bem-pagas de Hollywood. Nos anos 1950, John Wayne foi
um dos atores mais bem-pagos de Hollywood. E um dia os dois se encontraram, mas
muitas pessoas desconhecem este filme que juntou as duas superestrelas: “Uma
Aventura em Paris”, uma propaganda anti-nazista de 1942 dirigida por Jules
Dassin - um filme não muito inspirado.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">For a while, in the 1930s and 1940s, Joan Crawford was one of the
highest-paid actresses in Hollywood. In the 1950s, John Wayne was one of the
highest-paid actors in Hollywood. And one day the two of them met, but many
people aren’t aware of this film that brings the two superstars together:
“Reunion in France”, a 1942 anti-Nazi propaganda directed by Jules Dassin - and
lacking inspiration.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fcps-static.rovicorp.com%2F1%2Favg%2Fcov584%2Fdrv300%2Fv332%2Fv33221wchfl.jpg&f=1&nofb=1&ipt=6c9095cdda73d2cd788d796cb2cc18c52946fc8faddf6aece7d5882a54e3a69e&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="447" height="400" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fcps-static.rovicorp.com%2F1%2Favg%2Fcov584%2Fdrv300%2Fv332%2Fv33221wchfl.jpg&f=1&nofb=1&ipt=6c9095cdda73d2cd788d796cb2cc18c52946fc8faddf6aece7d5882a54e3a69e&ipo=images" width="224" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“Em tempos de guerra, o amor é uma ofensa digna de punição”, diz
Michele de la Becque (Joan Crawford) para seu namorado, Robert Cortot (Philip
Dorn), quando ele recusa o convite dela para uma escapada. Eles não têm com o
que se preocupar, porque Hitler não pode invadir a França, disse um general num
evento em que estava o casal. A Linha Maginot parecia intransponível, até que
se provou o contrário, e numa questão de semanas a França se rendeu aos
nazistas. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“In times of war, love is a punishable offense”, says
Michele de la Becque (Joan Crawford) to her boyfriend, Robert Cortot (Philip
Dorn), when he refuses her invitation for an escapade. They have nothing to
worry about, because Hitler can’t invade France, a general said in an event both
were attending. The Maginot Line seemed insurmountable, until it wasn’t, and in
a matter of weeks Paris fell under the Nazis.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.joancrawfordbest.com%2F42reunion12nov1.jpg&f=1&nofb=1&ipt=44ca3e27724b36c5e9816b2e3f2d3b5dde42b3400111105d4ff00930f2e5bd41&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="601" data-original-width="800" height="301" src="https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.joancrawfordbest.com%2F42reunion12nov1.jpg&f=1&nofb=1&ipt=44ca3e27724b36c5e9816b2e3f2d3b5dde42b3400111105d4ff00930f2e5bd41&ipo=images" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Michele volta de sua escapada e encontra sua
mansão “tomada de empréstimo” pelos nazistas e transformada em posto de
distribuição de carvão. Ela se horroriza com o pensamento de que Robert estaria
colaborando com os nazistas. Sem dinheiro, ela aceita um emprego numa loja de
roupas e é saindo do trabalho que ela conhece o tenente da aeronáutica Pat
Talbot (John Wayne), com quem ela se compromete: ela vai ajudá-lo a escapar da
França. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Michele comes back from her escapade only to find her
mansion “borrowed” by Nazis as an outpost to distribute coal. She’s truly
horrified when she starts thinking that Robert is collaborating with the Nazis.
Penniless, she accepts a job at a clothes store and it’s leaving her job that
she meets flight lieutenant Pat Talbot (John Wayne), who she vows to help leave
France.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimage.tmdb.org%2Ft%2Fp%2Fw780%2F4hplI6YcF3tLaMP7V9YJbj4JkoC.jpg&f=1&nofb=1&ipt=fb33fe37e57d0c95e1622624296270c3a551b5c9c7e1b5a154cff2789302a145&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="439" data-original-width="780" height="225" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimage.tmdb.org%2Ft%2Fp%2Fw780%2F4hplI6YcF3tLaMP7V9YJbj4JkoC.jpg&f=1&nofb=1&ipt=fb33fe37e57d0c95e1622624296270c3a551b5c9c7e1b5a154cff2789302a145&ipo=images" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Joan Crawford e John Wayne tinham praticamente
a mesma idade - dependendo da fonte que você usa para o ano de nascimento de
Joan. Entretanto, no filme a história é construída como se Michele fosse uma
mulher mais velha e com mais experiência, e Pat fosse um garoto que acabou de
se alistar. Já se passaram alguns anos desde a performance que transformou
Wayne em estrela, em “No Tempo das Diligências” (1939), mas seu papel é de
coadjuvante - “Uma Aventura em Paris” pertence a Joan Crawford, e só a ela. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: white; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Joan Crawford and John Wayne were practically the same
age - depending on the source you follow for Joan’s birth date. However, in the
film the story is built as if Michele was an older, experienced woman and Pat
was a boy who just enlisted. It was already past Wayne’s star-making
performance in “Stagecoach” (1939), but his is a supporting role - “Reunion in
France” belongs to Crawford, and Crawford only.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi.ytimg.com%2Fvi%2FhNeC9cr2les%2Fhqdefault.jpg&f=1&nofb=1&ipt=26d7022f098f22c74c99ecc25f7420bf3d6134cb8778e9ce6a382f34e14cb30b&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="480" height="300" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi.ytimg.com%2Fvi%2FhNeC9cr2les%2Fhqdefault.jpg&f=1&nofb=1&ipt=26d7022f098f22c74c99ecc25f7420bf3d6134cb8778e9ce6a382f34e14cb30b&ipo=images" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Numa entrevista para o programa The Merv
Griffin Show em 1963, Joan Crawford contou que já queria contracenar com John
Wayne algum tempo antes de “Uma Aventura em Paris”, entretanto, nas próprias
palavras dela: “quando nós de fato contracenamos, foi com o pior roteiro que eu
já vi ou li na minha vida”. Em outra entrevista, ela foi mais além: “Oh, Deus.
Se houver vida após a morte e eu tiver de ser punida por meus pecados, este é
um dos filmes que eles me farão ver de novo e de novo. John Wayne e eu sofremos,
não apenas por causa do roteiro bobo, mas porque éramos uma dupla sem harmonia.
Tire John do cavalo, e você terá problemas”. Profundamente criticado por sua
própria estrela, não é de se espantar que “Uma Aventura em Paris” seja tão
pouco conhecido.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">In an interview given a The Merv Griffin Show in 1963,
Joan Crawford said that she had wanted to play opposite John Wayne for some time
before “Reunion in France”, however, in her words, “</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: "Georgia","serif"; font-size: 15.0pt; letter-spacing: .25pt; line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">when we really
worked together it was the lousiest script I have ever seen or read in my life.</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">” In another interview, she went
further: “</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">Oh God. If there is an afterlife and I am to be punished for my sins,
this is one of the pictures they'll make me see over and over again. John Wayne
and I both went down for the count, not just because of a silly script but
because we were so mismatched. Get John out of the saddle, and you've got
trouble."</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"> Deeply
disliked by its star, there is no wonder “Reunion in France” isn’t a more
well-known film.</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fprod-images.tcm.com%2FMaster-Profile-Images%2Freunioninfrance1942.88117.jpg&f=1&nofb=1&ipt=b54ea00c3c7dc7f1c594fed9a86059fe711ab92b7dc8acb65686a8ad26cea1a5&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="521" data-original-width="800" height="261" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fprod-images.tcm.com%2FMaster-Profile-Images%2Freunioninfrance1942.88117.jpg&f=1&nofb=1&ipt=b54ea00c3c7dc7f1c594fed9a86059fe711ab92b7dc8acb65686a8ad26cea1a5&ipo=images" width="400" /></a></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Philip Dorn tem um papel de responsa como um dos protagonistas,
Robert Cortot, namorado de Michele. Nascido na Holanda, ele começou a carreira
sob o nome artístico de Frits van Dongen e deixou seu país natal, indo para a
Alemanha, em 1938. Em 1939, semanas antes de a Segunda Guerra Mundial começar,
ele se mudou para Hollywood e mudou o nome artístico para Philip Dorn. Lá, ele
interpretou diversos patriotas anti-nazistas e teve relativo sucesso, o que não
o impediu de voltar para a Alemanha nos anos 50. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Philip Dorn has a juicy role as one of the leads, Robert Cortot,
Michele’s boyfriend. Born in the Netherlands, he started his career under the
name Frits van Dongen and left his home country for Germany in 1938. In 1939,
just weeks before the beginning of World War II, he moved to Hollywood and
changed his stage name to Philip Dorn. There, he played several anti-Nazis
patriots and had relative success, which didn’t prevent him from going back to
Germany in the 1950s.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Filarge.lisimg.com%2Fimage%2F4399014%2F740full-philip-dorn.jpg&f=1&nofb=1&ipt=c2a47b77787a293a25b0360fcd43ef6528fdb3e40b9f65c0e7291c7420a85f6a&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="516" height="400" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Filarge.lisimg.com%2Fimage%2F4399014%2F740full-philip-dorn.jpg&f=1&nofb=1&ipt=c2a47b77787a293a25b0360fcd43ef6528fdb3e40b9f65c0e7291c7420a85f6a&ipo=images" width="258" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“Uma Aventura em Paris” foi dirigido por Jules Dassin, que
dirigiu, de acordo com o IMDb, 25 filmes em sua carreira, em diversos
idiomas.Dassin estava tendo sucesso moderado quando, em 1952, ele foi acusado
de ser comunista - na verdade, ele havia abandonado o partido em 1939 - e teve
de se mudar para a França, onde fez muito sucesso. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“Reunion in France” is directed by Jules Dassin, who directed, according
to IMDb, 25 films in his career, in several languages. Dassin was enjoying
moderate success when, in 1952, he was accused of being a communist - he had
actually left the party in 1939 - and had to move to France, where he found
bigger success.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fmedia.fstatic.com%2FUoPGctYYwYQpCHkYD64YOPykpZ0%3D%2Ffull-fit-in%2F290x478%2Fmedia%2Fartists%2Favatar%2F2016%2F11%2Fjules-dassin_a46306.jpg&f=1&nofb=1&ipt=4e3e777d59fc7bb6e1b3e9ef035f8e73624deaa2c71ecaf4c39315a358be249c&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="334" height="400" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fmedia.fstatic.com%2FUoPGctYYwYQpCHkYD64YOPykpZ0%3D%2Ffull-fit-in%2F290x478%2Fmedia%2Fartists%2Favatar%2F2016%2F11%2Fjules-dassin_a46306.jpg&f=1&nofb=1&ipt=4e3e777d59fc7bb6e1b3e9ef035f8e73624deaa2c71ecaf4c39315a358be249c&ipo=images" width="279" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Quando ela fala sobre como alguns franceses traíram seus
conterrâneos, Michele pergunta “o que será da França?” Nós vimos, nos últimos
anos, algo impensável: populações sendo divididas por política, especialmente
por partidos, candidatos e governos da extrema direita. Se você, como eu, vive
em um país que ainda se sente dividido, você conhece a sensação quando ela diz
essa frase: é de desolação e perda da esperança. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="mso-spacerun: yes;"> </span></span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;">When talking about how some French people betrayed their fellow
countrymen, Michele asks “what’s become of France?” We’ve seen, in the past few
years, something unthinkable: populations being divided by politics, especially
by far-right parties, candidates and governments. If you, like me, live in a
country that still feels divided, you know the sensation when she utters the
line: it’s of desolation and loss of hope.</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fsilverscreenings.files.wordpress.com%2F2016%2F07%2Fjoan-crawford-john-wayne-reunion-in-france-1942.jpg&f=1&nofb=1&ipt=d0e259f002370abdc2f800c15d555b57b1d6c0459492b30cba9cd58fa9e9320c&ipo=images" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="611" data-original-width="800" height="306" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fsilverscreenings.files.wordpress.com%2F2016%2F07%2Fjoan-crawford-john-wayne-reunion-in-france-1942.jpg&f=1&nofb=1&ipt=d0e259f002370abdc2f800c15d555b57b1d6c0459492b30cba9cd58fa9e9320c&ipo=images" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“Uma Aventura em Paris” não é uma joia
escondida. Pode ser curioso, interessante e agradável, mas não é um filme
obrigatório nas filmografias de suas estrelas. É providencial, porque a
Resistência não foi embora junto com a primeira derrota da extrema direita. É
mais um melodrama que um filme de guerra, mas é, acima de tudo, um veículo para
o talento de Joan Crawford.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, "serif"; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“Reunion in France” isn’t a hidden gem. It may be
curious, interesting and enjoyable, but not mandatory viewing in any of its
stars’ filmography. It’s timely, as the Resistance didn’t go away in the first
defeat of the far-right. It’s more of a melodrama than a war movie, but it is,
above all, a Joan Crawford vehicle.</span></span></i></p><br />Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com1tag:blogger.com,1999:blog-5719905867000998397.post-72016025552110473672023-07-14T18:35:00.002-03:002023-07-14T18:59:58.348-03:00O Último dos Moicanos (1920) / The Last of the Mohicans (1920)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“O Último dos Moicanos” é um clássico, sobre
isso não há dúvida. A história foi adaptada para as telas muitas vezes, sendo a
adaptação mais famosa provavelmente aquela feita em 1992 estrelando Daniel
Day-Lewis. Mas hoje focamos numa adaptação bem mais velha, de 1920.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">“The Last of the Mohicans” is a classic, no doubt
about that. The story was adapted to the screen many times, being the most
famous adaptation probably the one made in 1992 and starring Daniel Day-Lewis.
But today we focus on a much older adaptation, from 1920.</span><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://m.media-amazon.com/images/M/MV5BN2ZmZTYwNTgtOTE0Zi00YzU0LWI0MmUtMDIxMGE4MjYwZDdhXkEyXkFqcGdeQXVyNjA5MTAzODY@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="566" height="400" src="https://m.media-amazon.com/images/M/MV5BN2ZmZTYwNTgtOTE0Zi00YzU0LWI0MmUtMDIxMGE4MjYwZDdhXkEyXkFqcGdeQXVyNjA5MTAzODY@._V1_.jpg" width="283" /></a></i></span></div><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="line-height: 150%;"><div style="text-align: justify;"><span style="font-family: Georgia, serif; font-size: 20px;"><br /></span></div>
</span></i><span style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><div style="text-align: justify;"><span style="font-size: 15pt;">A história acontece em 1757, quando postos das Treze Colônias
estavam sendo invadidos pelo exército francês. O coronel Munro (James Gordon)
está em um destes postos, o Forte William Henry, e suas duas filhas Cora
(Barbara Bedford) e Alice (Lillian Hall) estão no Forte Edward. As duas garotas
vão se encontrar com o pai, passando por um atalho pela floresta com a ajuda do
guia indígena Magua (Wallace Beery). No meio do caminho, Magua as abandona
porque tem outros planos.</span><span style="font-size: 15pt;"> </span><span style="font-size: 15pt;">Felizmente,
elas encontram o último dos moicanos, Uncas (Alan Roscoe).</span></div></span></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">The story takes place in 1757, when outposts in the
Thirteen Colonies were being invaded by the French Army. Colonel Munro (James
Gordon) is at one of these outposts, Fort William Henry, and his two daughters
Cora (Barbara Bedford) and Alice (Lillian Hall) are at Fort Edward. The two
girls go meet their father, going through a shortcut in the forest with the
help of Indian guide Magua (Wallace Beery). In the middle of the journey, Magua
deserts them as he has other plans. Luckily, they meet the last of the Mohicans,
Uncas (Alan Roscoe).</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://rogermooresmovienation.files.wordpress.com/2022/08/last1.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="615" data-original-width="778" height="316" src="https://rogermooresmovienation.files.wordpress.com/2022/08/last1.jpeg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">As garotas chegam em segurança, mas os
franceses estão próximos e os britânicos são incapazes de pará-los. Mulheres e
crianças deixam o forte, mas são capturadas ou mortas pela tribo do Hurons. Magua
também está lá, e quer Cora, que agora só tem olhos para Uncas.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
<span style="background-color: transparent; background: transparent;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">The girls arrive safely, but the French are nearby
and the British can’t stop them. </span></span></span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Women and children leave the fort, but are taken
captive and / or killed by the Huron tribe. Magua is there too, and he wants
Cora, who now only has eyes for Uncas.</span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://i.ytimg.com/vi/fSEFBqFNE4I/maxresdefault.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://i.ytimg.com/vi/fSEFBqFNE4I/maxresdefault.jpg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">#NemTodoÍndio é malvado, mas os Hurons com
certeza são. Eles desobedeceram à promessa do cacique para os britânicos, que
disse que mulheres e crianças poderiam atravessar o território deles e não
seriam maltratadas. Pelo bel-prazer de estuprar e matar, eles atacam estas
mulheres e jogam crianças pelos ares, matando-as. Os moicanos eram os índios
bons, como no começo é dito que eles eram amigos dos caras-pálidas.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">#NotAllIndians are bad, but the Hurons certainly are. They
disobeyed their Chief’s promise to the British, that women and children could
pass their territory and would leave unharmed. For the sheer pleasure of raping
and killing, they attack those women and throw children up in the air to their
deaths. The Mohicans were the good Indians, as in the beginning it’s said that
they were friends with white people.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://rogermooresmovienation.files.wordpress.com/2022/08/last6.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="391" data-original-width="487" height="321" src="https://rogermooresmovienation.files.wordpress.com/2022/08/last6.jpeg" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“O Último dos Moicanos” teve dois diretores: Maurice Tourneur e
Clarence Brown. Tourneur – que dirigiu um dos meus filmes mudos favoritos, <b><a href="https://criticaretro.blogspot.com/2014/10/variacoes-sobre-um-mesmo-tema-o-passaro.html" target="_blank">“O Pássaro Azul” (1918)</a></b> – adoeceu durante as filmagens e Clarence Brown, que
trabalhava como editor e diretor assistente, tomou seu lugar para completar o
filme. É por isso que o produto final parece mais um amálgama de dois estilos e
não um espetáculo digno de Tourneur.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">“The Last of the Mohicans” had two directors: Maurice
Tourneur and Clarence Brown. Tourneur - who directed one of my favorite silent
films, <b><a href="https://criticaretro.blogspot.com/2014/10/variacoes-sobre-um-mesmo-tema-o-passaro.html" target="_blank">“The Blue Bird” (1918)</a></b> - became ill during shooting and Clarence Brown,
who was working as editor and assistant director, stepped up to complete the
film. That’s why the final product seems more like an amalgamation of two
styles and not a full Tourneur spectacle.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://1.bp.blogspot.com/-0QWhcYBQM58/WgOfyBfHecI/AAAAAAAAdXc/nXB_Yn9RP4YOivLDchaN-QHLFJpvVYifACLcBGAs/s640/The%2BLast%2Bof%2Bthe%2BMohicans%2B%25281920%2529.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="300" src="https://1.bp.blogspot.com/-0QWhcYBQM58/WgOfyBfHecI/AAAAAAAAdXc/nXB_Yn9RP4YOivLDchaN-QHLFJpvVYifACLcBGAs/w400-h300/The%2BLast%2Bof%2Bthe%2BMohicans%2B%25281920%2529.png" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Wallace Beery precisa de muita maquiagem para interpretar Magua.</span></span><span style="caret-color: rgb(204, 0, 0); color: #cc0000; font-family: Georgia, serif; font-size: 20px;"> Diz-se que Boris Karloff interpreta também um índio neste filme, mas foi impossível reconhecê-lo.</span><span style="color: #cc0000; font-family: Georgia, serif; font-size: 15pt;"> Estes eram os tempos em que se valia da yellowface para que atores brancos
interpretassem personagens não-brancos, como indígenas. Tendo isto em mente,
Beery é um bom – leia-se detestável – vilão. Alan Roscoe também usa a
yellowface. Roscoe dividiu as telas com Theda Bara em pelo menos sete filmes, e
é mais conhecido por este “O Último dos Moicanos”, pois morreu relativamente
jovem em 1933.</span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Wallace Beery plays Magua relying on heavy makeup. </span></span></i></span><i style="caret-color: rgb(204, 0, 0); color: #cc0000; mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 30px;">It’s said that Boris Karloff plays an Indian in this film, but it’s impossible to recognize him. </span></i><i style="color: #cc0000; mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2;">These were
the times of yellowface used so white actors could play non-white roles, such
as Indians. This point being noticed, Beery makes a good - read here detestable
- villain. Alan Roscoe also uses yellowface. Roscoe was Theda Bara’s leading
man in at least seven films, and is better known for this “The Last of the
Mohicans”, as he died fairly young in 1933.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: white; background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://silverinahaystack.files.wordpress.com/2013/05/vlcsnap-2013-05-24-00h02m49s147.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="300" src="https://silverinahaystack.files.wordpress.com/2013/05/vlcsnap-2013-05-24-00h02m49s147.png" width="400" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Barbara Bedford foi casada com Alan Roscoe – duas vezes!
Primeiro no período entre 1922 e 1928, quando tiveram uma filha, e novamente
entre 1930 e 1933, quando ele faleceu. Barbara esteve em diversos filmes na era
muda, e permaneceu trabalhando como figurante quando os filmes sonoros chegaram
em Hollywood.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Barbara Bedford was married to Alan Roscoe - twice!
First in the period between 1922 and 1928, when they had a daughter, and again
from 1930 to 1933, when he passed away. Barbara appeared in several films in
the silent era, and remained working as an extra when sound came to Hollywood.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: white; background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://onceuponatimeinawestern.com/wp-content/uploads/2020/04/Barbara-Bedford-as-Cora-Munro-with-Lilian-Hall-as-sister-Alice-in-The-Last-of-the-Mohicans-1920.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="325" height="400" src="https://onceuponatimeinawestern.com/wp-content/uploads/2020/04/Barbara-Bedford-as-Cora-Munro-with-Lilian-Hall-as-sister-Alice-in-The-Last-of-the-Mohicans-1920.jpg" width="342" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Eu me empolguei e também assisti à versão de 1936 de “O Último
dos Moicanos”. Este filme B, produzido pelo estúdio Reliance Pictures, tem como
estrela Randolph Scott interpretando Hawkeye, que se torna o herói da história.
Na versão de 1920, Hawkeye só é citado brevemente. Dado o poder do nome de
Randolph Scott na época, podemos entender a mudança de foco, mas a história de
Cora permanece como a mais interessante. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">I got carried away and also watched the 1936 version of “The
Last of the Mohicans”. This B-movie, produced by Reliance Pictures, stars
Randolph Scott as Hawkeye, who becomes the lead of the story. In the 1920
version, Hawkeye is only briefly mentioned. Given Scott’s star power at the
time, we can understand the shift of focus, but Cora’s plot remains the most
interesting.</span></span></i></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"></span></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><a href="https://m.media-amazon.com/images/M/MV5BMTQ0MDY3OWEtNzNlMC00MjcxLTg2ZmUtYjg2ZTVmMzllNzE3XkEyXkFqcGdeQXVyMTY5Nzc4MDY@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="522" height="400" src="https://m.media-amazon.com/images/M/MV5BMTQ0MDY3OWEtNzNlMC00MjcxLTg2ZmUtYjg2ZTVmMzllNzE3XkEyXkFqcGdeQXVyMTY5Nzc4MDY@._V1_.jpg" width="261" /></a></span></i></div><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Os escritos de James Fenimore Cooper já foram
adaptados tanto para as telonas quanto para as telinhas 43 vezes, de acordo com
o IMDb, com uma futura adaptação de “O Último dos Moicanos”, sua obra mais
famosa, em produção como série de TV. Visualmente bela, a versão de 1920 da
história com certeza agradará a todos os públicos.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br />
</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">James Fenimore Cooper’s writings were adapted to the big and
small screen 43 times already, according to IMDb, with an upcoming adaptation
of “The Last of the Mohicans”, his most famous story, in the works as a TV
series. Visually stunning, the 1920 version of the story is sure one to please
all the audiences.</span><o:p></o:p></span></i></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: transparent; background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">This is my contribution to the <b><a href="https://silverscreenclassicsblog.wordpress.com/2023/07/14/the-2023-classic-literature-on-film-blogathon-is-here/" target="_blank">2023 Classic Literature on Film Blogathon</a></b>, hosted by Paul at Silver Screen Classics.</span><span style="color: #1d2228;"><o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background-color: white; background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://silverscreenclassicsblog.files.wordpress.com/2023/06/7nypon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://silverscreenclassicsblog.files.wordpress.com/2023/06/7nypon.jpg" width="400" /></a></i></div><i style="mso-bidi-font-style: normal;"><span style="color: #cc0000;"><br /></span></i><p></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com4tag:blogger.com,1999:blog-5719905867000998397.post-48838307350173264882023-07-11T16:08:00.001-03:002023-07-11T16:08:19.602-03:00Seu Último Refúgio (1941) / High Sierra (1941)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Algumas estrelas da Velha Hollywood são tão
icônicas que é difícil para nós imaginarmos como eles eram antes de serem
estrelas. Tomemos como exemplo Humphrey Bogart. O ator de cinema clássico mais
icônico, de acordo com uma lista do Instituto de Cinema Norte-americano (AFI),
começou no cinema em 1928, mas foi só em 1941 que ele se tornou uma
superestrela. Hoje falaremos sobre seu último filme antes desta mudança de
status.</span><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Some old Hollywood stars are so iconic that it’s
difficult for us to imagine them as they were when they weren’t yet stars. Take
Humphrey Bogart, for instance. The most iconic classic film star, according to
an American Film Institute (AFI) list, started appearing in films in 1928 but
it wasn’t until 1941 that he became a superstar. Today we talk about his last
film before this change of status.</span></span></i><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
</span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><a href="https://flxt.tmsimg.com/assets/p1298_p_v8_ac.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="533" height="400" src="https://flxt.tmsimg.com/assets/p1298_p_v8_ac.jpg" width="267" /></a></span></div><span style="color: #cc0000;"><br /><div style="text-align: justify;"><span style="font-family: Georgia, serif; font-size: 15pt;">Roy Earle (Humphrey Bogart) foi solto da prisão após oito
anos encarcerado. Ele teve seu tempo perdoado, mas não vai ficar muito tempo
longe do crime. Ele logo vai para um acampamento onde dois homens estão
esperando por ele para começar um esquema. Junto com estes dois homens está
Marie Garson (Ida Lupino), que se apaixona por Roy. </span><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">O plano é roubar um resort turístico na Califórnia.</span></div><span lang="EN-US" style="line-height: 150%;"><div style="text-align: justify;"><span style="font-family: Georgia, serif; font-size: 20px;"><br /></span></div>
<i style="font-family: Georgia, serif; font-size: 15pt;"><div style="text-align: justify;"><i style="font-size: 15pt;"><span style="background: transparent;">Roy Earle (Humphrey Bogart) has been freed after eight years
in prison. He has been pardoned but he won’t stay away from crime for too long.
He quickly goes to a camping site where two fellows are waiting for him to
start a scheme. Together with those fellows is Marie Garson (Ida Lupino), who
falls for Roy. The plan is to rob a touristic resort in California.</span></i></div></i>
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
</span><div class="separator" style="clear: both; text-align: center;"><a href="https://www.moma.org/d/assets/W1siZiIsIjIwMTYvMDgvMDQvM3IwZ2puaTBvcV9IaWdoX1NpZXJyYV8wMy5qcGciXSxbInAiLCJjb252ZXJ0IiwiLXF1YWxpdHkgOTAgLXJlc2l6ZSAyMDAweDIwMDBcdTAwM2UiXV0/High%20Sierra%2003.jpg?sha=fe8e57d27befd773" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="800" height="250" src="https://www.moma.org/d/assets/W1siZiIsIjIwMTYvMDgvMDQvM3IwZ2puaTBvcV9IaWdoX1NpZXJyYV8wMy5qcGciXSxbInAiLCJjb252ZXJ0IiwiLXF1YWxpdHkgOTAgLXJlc2l6ZSAyMDAweDIwMDBcdTAwM2UiXV0/High%20Sierra%2003.jpg?sha=fe8e57d27befd773" width="400" /></a></div><br /><div style="text-align: justify;"><span style="background-color: transparent; font-family: Georgia, serif; font-size: 15pt;">Na estrada, Roy conhece o Pai (Henry Travers), a Mãe
(Elisabeth Risdon) e a neta deles, Velma (Joan Leslie). Eles se tornam amigos e
Roy arranja uma cirurgia para Velma, cirurgia esta que fará com que ela pare de
mancar. Roy se apaixona por Velma, mesmo parecendo velho demais para ela. Joan
Leslie era 25 anos mais nova que Bogart, e isso fica evidente na tela.</span></div><span style="line-height: 150%;"><div style="text-align: justify;"><span style="font-family: Georgia, serif; font-size: 20px;"><br /></span></div>
</span><i style="mso-bidi-font-style: normal;"><div style="text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">On the road, Roy meets Pa (Henry Travers), Ma
(Elisabeth Risdon) and their granddaughter Velma (Joan Leslie). They all become
friends and Roy arranges for Velma to undergo a surgery on her foot that will
make her limp go away. Roy falls in love with Velma, even though he seems too
old for her. Joan Leslie was 25 years younger than Bogart, and it shows on screen.</span></i></div></i></span><p></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
</span></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><a href="https://prod-images.tcm.com/v5cache/TCM/Images/Dynamic/i399/highsierra_thatsvenus_FC_470x264_040720160105.jpg?w=400" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="400" height="225" src="https://prod-images.tcm.com/v5cache/TCM/Images/Dynamic/i399/highsierra_thatsvenus_FC_470x264_040720160105.jpg?w=400" width="400" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><br /></span></div><span style="color: #cc0000;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><div style="text-align: justify;"><span style="font-size: 15pt;">O clímax acontece nas Montanhas Rochosas da Califórnia. O
diretor Raoul Walsh disse que a perseguição climática foi a sequência mais
longa que ele dirigiu em toda sua carreira. A sequência foi filmada no Monte
Whitney, Califórnia, que chega à altura máxima de mais de 4200 metros!</span></div></span><span style="line-height: 150%;"><div style="text-align: justify;"><span style="font-family: Georgia, serif; font-size: 20px;"><br /></span></div>
</span><i style="mso-bidi-font-style: normal;"><div style="text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">The climax happens in the Rocky Mountains of
California. Director Raoul Walsh said that the climatic chase was the longest
sequence he ever directed. The sequence was shot at Mount Whitney, California,
where the maximum height is 14,505 feet - more than 4,200 meters!</span></i></div></i></span><p></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
</span></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><a href="https://cdn.britannica.com/83/174783-004-C9602519/Humphrey-Bogart-High-Sierra-Raoul-Walsh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="367" height="400" src="https://cdn.britannica.com/83/174783-004-C9602519/Humphrey-Bogart-High-Sierra-Raoul-Walsh.jpg" width="326" /></a></span></div><span style="color: #cc0000;"><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" /><div style="text-align: justify;"><span style="background-color: transparent; font-size: 15pt;">Algernon é o único personagem negro no filme, e também o
alívio cômico. Ele fica vesgo e fala de maneira melódica, sendo um perfeito
estereótipo ambulante. Algernon é interpretado por Willie Best, que tem aqui
seu papel mais lembrado. Willie era motorista e, visitando a Califórnia com
seus patrões, decidiu ficar e tentar uma carreira no show business. Bob Hope
disse que Willie Best foi um dos atores mais talentosos com quem ele trabalhou.</span></div>
</span><span style="line-height: 150%;"><div style="text-align: justify;"><span style="font-family: Georgia, serif; font-size: 20px;"><br /></span></div>
</span><i style="mso-bidi-font-style: normal;"><div style="text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Algernon is the only black character in the film,
and also the comic relief. He crosses his eyes and talks in a melodic
gibberish, being a perfect walking stereotype. Algernon is played by Willie
Best, who has here his best remembered role. Willie had been a chauffeur and,
visiting California with his employers, decided to stay and pursue a career in
show business. Bob Hope said Willie Best was one of the most talented actors he
had ever worked with.</span></i></div></i><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
</span><div class="separator" style="clear: both; text-align: center;"><a href="https://i.pinimg.com/originals/84/1f/4e/841f4e4e23e52abf892c6a5357eb2338.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="535" data-original-width="745" height="287" src="https://i.pinimg.com/originals/84/1f/4e/841f4e4e23e52abf892c6a5357eb2338.jpg" width="400" /></a></div><br /><div style="text-align: justify;"><span style="background-color: transparent; font-family: Georgia, serif; font-size: 15pt;">O nome de Ida Lupino é o primeiro nos créditos, vindo até
mesmo antes do de Bogart. Em “Seu Último Refúgio”, sua personagem é menos uma
femme fatale que uma gun moll - isto é, a mulher do gângster. Ela é cúmplice do
roubo; ela também é uma salafrária, mas sentimos simpatia por ela. Dizem que
Bogart não ficou feliz com o segundo lugar nos créditos, e de fato “Seu Último
Refúgio” foi o último filme em que seu nome não abriu os créditos.</span></div><span style="line-height: 150%;"><div style="text-align: justify;"><span style="font-family: Georgia, serif; font-size: 20px;"><br /></span></div>
</span><i style="mso-bidi-font-style: normal;"><div style="text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Ida Lupino is first billed - her name comes even
before Bogart’s. In “High Sierra”, her character is less of a femme fatale than
of a gun moll - that is, the gangster’s girl. She’s an accomplice in the
robbery; she’s also a crook, but we feel sympathy for her. Bogart was said to
be unhappy about receiving second billing, and indeed “High Sierra” was the last
film in which he wasn’t first billed.</span></i></div></i><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
</span><div class="separator" style="clear: both; text-align: center;"><a href="https://m.media-amazon.com/images/M/MV5BYzg2MzBjNWUtMDgyZS00ZWFmLTljMDEtZmUxMTEwNGM4M2RlXkEyXkFqcGdeQXVyMDI2NDg0NQ@@._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="507" height="400" src="https://m.media-amazon.com/images/M/MV5BYzg2MzBjNWUtMDgyZS00ZWFmLTljMDEtZmUxMTEwNGM4M2RlXkEyXkFqcGdeQXVyMDI2NDg0NQ@@._V1_.jpg" width="254" /></a></div><br /><div style="text-align: justify;"><span style="background-color: transparent; font-family: Georgia, serif; font-size: 15pt;">O papel de Roy Earle deveria ir ou para Paul Muni ou para
George Raft. Muni deixou a Warner Brothers e Raft recusou o papel. James Cagney
também recusou o papel e Edward G. Robinson foi brevemente considerado. Bogart,
que vinha mandando diversos telegrams para o chefe do estúdio pedindo o papel,
teve seu esforço recompensado e foi escalado como Roy, o que mudou sua carreira
para sempre. John Huston declarou, sobre como Bogie incorporou o personagem:
“Bogie era um homem de estatura média, não particularmente impressionante fora
das telas, mas algo acontecia quando ele estava interpretando o papel certo.
Aquelas luzes e sombras companhias outra personalidade, mais nobre: heróica,
como em “Seu Último Refúgio”. Eu juro que a câmera tem uma maneira de olhar
para uma pessoa e perceber coisas que não são registradas a olho nu”.</span></div><span style="line-height: 150%;"><div style="text-align: justify;"><span style="font-family: Georgia, serif; font-size: 20px;"><br /></span></div>
</span><i style="mso-bidi-font-style: normal;"><div style="text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">The role of Roy Earle was supposed to go either to
Paul Muni or George Raft. Muni left Warner Brothers and Raft turned down the
role. James Cagney also turned down the role and Edward G. Robinson was briefly
considered. Bogart, who had been sending several telegrams to the studio head
requesting the role, had his effort pay off and was cast as Roy, something that
changed his career forever. John Huston said about how Bogie approached the
role: “Bogie was a medium-sized man, not particularly impressive off-screen,
but something happened when he was playing the right part. Those lights and
shadows composed themselves into another, nobler personality: heroic, as in
'High Sierra'. I swear the camera has a way of looking into a person and
perceiving things that the naked eye doesn't register."</span></i></div></i></span><p></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
</span></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><a href="https://assets.mubicdn.net/images/film/11685/image-w1280.jpg?1634925420" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://assets.mubicdn.net/images/film/11685/image-w1280.jpg?1634925420" width="400" /></a></span></div><span style="color: #cc0000;"><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" /><div style="text-align: justify;"><span style="background-color: transparent; font-size: 15pt;">O roteiro foi escrito por W.R. Burnett e John Huston, baseado
num livro de Burnett. A primeira versão do roteiro foi escrita somente para
Huston, mas Paul Muni, que deveria ser o protagonista naquele momento, não
gostou do roteiro, por isso o estúdio trouxe o autor do livro para co-escrever
uma segunda versão, que também não agradou a Muni. John Huston, antes de se
tornar diretor, já havia viajado pela Europa e Estados Unidos, e tentou ser
pintor e repórter de jornal antes de dirigir seus esforços para o cinema, onde
trabalhou como ator, roteirista, produtor e diretor.</span></div>
</span><span style="line-height: 150%;"><div style="text-align: justify;"><span style="font-family: Georgia, serif; font-size: 20px;"><br /></span></div>
</span><i style="mso-bidi-font-style: normal;"><div style="text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">The screenplay was written by W.R. Burnett and
John Huston, based on a novel by Burnett. The first version of the screenplay
was written solely by Huston, but Paul Muni, who was set to star in the film at
that point, disliked the screenplay, so the studio brought the author of the
book to co-write a second version, that was also disapproved by Muni. John Huston,
before becoming a director, had already traveled through the USA and Europe,
and tried painting and newspaper reporting before dedicating his efforts to
cinema, where he worked as actor, screenwriter, producer and director.</span></i></div></i></span><p></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
</span></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><a href="https://i.pinimg.com/564x/61/89/82/61898207007cf0cc16f75d5f175cb544.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="547" height="400" src="https://i.pinimg.com/564x/61/89/82/61898207007cf0cc16f75d5f175cb544.jpg" width="313" /></a></span></div><span style="color: #cc0000;"><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" /><div style="text-align: justify;"><span style="background-color: transparent; font-size: 15pt;">O diretor de “Seu Último Refúgio” é Raoul Walsh. Alguns podem
dizer que os heróis de Walsh são não-conformistas egoístas, e isso é verdade. O
filme mais famoso de Walsh é “Fúria Sanguinária” (1949), e o personagem de
James Cagney neste filme de fato pode ser descrito como acima. Além de filmes
de crime, Walsh dirigiu “O Ladrão de Bagdá” (1924) com Douglas Fairbanks e 140
outros títulos, numa carreira que durou de 1913 a 1964. Fato interessante:
Raoul Walsh perdeu um olho num acidente de carro envolvendo uma lebre, e em
“Seu Último Refúgio” uma lebre quase causa um acidente de carro.</span></div>
</span><span style="line-height: 150%;"><div style="text-align: justify;"><span style="font-family: Georgia, serif; font-size: 20px;"><br /></span></div>
</span><i style="mso-bidi-font-style: normal;"><div style="text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">The director of “High Sierra” is Raoul Walsh. Some
may say that Walsh’s heroes are egoist non-conformists, and that’s true.
Walsh’s most famous movie is “White Heat” (1949), and James Cagney’s character
in this movie falls indeed in this description. Apart from crime films, Walsh
directed “The Thief of Bagdad” (1924) with Douglas Fairbanks and 140 other
titles, in a career that lasted from 1913 to 1964. Interesting tidbit: Raoul
Walsh lost an eye in an car accident with a jackrabbit, and in “High Sierra” a
jackrabbit almost causes a car accident.</span></i></div></i><span lang="EN-US" style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">
<br style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; outline: none !important; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;" />
</span><div class="separator" style="clear: both; text-align: center;"><a href="https://images.fineartamerica.com/images/artworkimages/mediumlarge/2/humphrey-bogart--raoul-walsh-and-ida-lupino-in-high-sierra-1941--album.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="628" data-original-width="800" height="314" src="https://images.fineartamerica.com/images/artworkimages/mediumlarge/2/humphrey-bogart--raoul-walsh-and-ida-lupino-in-high-sierra-1941--album.jpg" width="400" /></a></div><br /><div style="text-align: justify;"><span style="background-color: transparent; font-family: Georgia, serif; font-size: 15pt;">Como um filme de gângster mas com algumas características de
filme noir, “Seu Último Refúgio” não desaponta. Venha por causa de Bogart,
fique por Ida Lupino e você terá uma boa surpresa.</span></div><span style="line-height: 150%;"><div style="text-align: justify;"><span style="font-family: Georgia, serif; font-size: 20px;"><br /></span></div>
</span><i style="mso-bidi-font-style: normal;"><div style="text-align: justify;"><i><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;">Like a gangster movie but with some film noir
characteristics, “High Sierra” didn’t disappoint. Come for Humphrey Bogart,
stay for Ida Lupino and you’ll be in for a treat.</span></i></div></i></span><p></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com1tag:blogger.com,1999:blog-5719905867000998397.post-5138673515911747972023-07-01T23:50:00.002-03:002023-07-01T23:50:18.190-03:00Minha Secretária Brasileira (1942) / Springtime in the Rockies (1942)<p> </p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Um mesmo filme pode ser visto de formas
diferentes por diferentes públicos. Aspectos culturais podem nos fazer focar em
um detalhe do filme e não vê-lo como ele foi primeiramente concebido. Tomemos
como exemplo um filme estrelado por Betty Grable, “Minha Secretária
Brasileira”. No Brasil, quando o filme estreou e mesmo hoje, ninguém o procura
por causa de Grable: todos queremos ver Carmen Miranda, daí vem o título em
português – o título original é “Springtime in the Rockies”, ou “Tempo de
Primavera nas Montanhas Rochosas”. Para nós do lado debaixo do Equador, este
filme é todo sobre Carmen Miranda.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The same film can be seen differently by different
audiences. Cultural aspects may make us focus on a detail of the film and not
see it as it was first conceived. Take for instance the Betty Grable vehicle
“Springtime in the Rockies” (1942). In Brazil, when it premiered and even
today, nobody went to the movies to see Grable: we all wanted to see Carmen
Miranda. That’s why the film got a different title here: “My Brazilian
Secretary”. For us below the Equator, this movie is all about Carmen Miranda.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://image.tmdb.org/t/p/w500/p66u6tPqVJRr4Lc3vrcjlSyc8yZ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="500" height="400" src="https://image.tmdb.org/t/p/w500/p66u6tPqVJRr4Lc3vrcjlSyc8yZ.jpg" width="267" /></a></i></span></div><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br /><div style="text-align: justify;"><span style="background-color: transparent; font-size: 15pt;">Vicky Lane
(Betty Grable) e Dan Christy (John Payne) são uma dupla no palco e fora dele. Ela
é visitada uma noite em seu camarim por seu antigo parceiro de dança, Victor
Prince (Cesar Romero), que quer retomar a parceria. Para a sorte de Victor,
isto acontece na mesma noite em que Dan é pego em mais uma de suas aventuras
com outras mulheres. Farta do comportamento de Dan, Vicky o deixa e volta para
Victor.</span></div>
</span></i></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">Vicky Lane (Betty Grable) and Dan Christy (John Payne)
are an item on and outside the stage. She is visited one night in her dressing
room by her former dance partner, Victor Prince (Cesar Romero), who wants to
resume their partnership. Luckily for Victor, this happens the same night Dan
was in another of his adventures with other women. Fed up with Dan’s actions,
Vicky leaves him for Victor.</span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://www.themoviedb.org/t/p/original/8dnZDHX8BeJThhYE7U4hIwlL9Gx.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://www.themoviedb.org/t/p/original/8dnZDHX8BeJThhYE7U4hIwlL9Gx.jpg" width="400" /></a></i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div><span style="color: #cc0000;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><div style="text-align: justify;"><span style="font-size: 15pt;">A
velha-porém-nova dupla, Victor e Victoria, sai em turnê pelas Montanhas
Rochosas do Canadá e Dan vai atrás deles, com o objetivo de reconquistar Vicky.
Ele leva consigo seus novos empregados: o criado McTavish (Edward Everett
Horton), a secretária irlandês-brasileira Rosita Murphy (Carmen Miranda) e os
seis irmãos de Rosita (interpretados pelos integrantes d’O Bando da Lua). Dan
planeja usar Rosita para despertar o ciúme de Vicky.</span></div><o:p></o:p></span></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The old-now-new duo, Victor and Victoria, go on tour
to the Canadian Rockies and Dan goes after them, wishing to reconquer Vicky. He
takes with him his new employees: valet McTavish (Edward Everett Horton),
Irish-Brazilian secretary Rosita Murphy (Carmen Miranda) and Rosita’s six
brothers (played by the men in the band O Bando da Lua). Dan plans to use
Rosita to make Vicky jealous.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://m.media-amazon.com/images/M/MV5BMjJjMTQ0ZGMtZTJjMy00ODU5LThkYzktYTJlYmFhZmE0NWVhXkEyXkFqcGdeQXVyNjA2ODA0Nzc@._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="756" data-original-width="800" height="378" src="https://m.media-amazon.com/images/M/MV5BMjJjMTQ0ZGMtZTJjMy00ODU5LThkYzktYTJlYmFhZmE0NWVhXkEyXkFqcGdeQXVyNjA2ODA0Nzc@._V1_.jpg" width="400" /></a></i></span></div><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br /><div style="text-align: justify;"><span style="background-color: transparent; font-size: 15pt;">O destaque do
elenco é Edward Everett Horton como McTavish, o criado de Dan. Um homem ultra-inteligente
que tem vários diplomas universitários, ele agora quer aprender sobre coisas
práticas da vida. Como sempre, Horton rouba a cena sempre que aparece. Há
também espaço para a assistente pessoal de Vicky, Phoebe (Charlotte Greenwood),
brilhar, quando ela fala sobre querer ter todos os homens antes de fazer seu
próprio pequeno número de dança.</span></div>
</span></i></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The highlight of the cast is Edward Everett Horton as McTavish,
Dan’s valet. An ultra-intelligent man who has several college degrees, he now
wants to learn the practical things in life. As always, Horton steals all the
scenes he’s in. There is also space for Vicky’s personal assistant Phoebe
(Charlotte Greenwood) to shine, when she talks about wanting all the men before
doing her own little dance number.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://m.media-amazon.com/images/M/MV5BMmY4MzVhMTctZjVkYS00YzliLWEzNTUtZWQ5M2Y2ODYyMmRiXkEyXkFqcGdeQXVyNjQ5NTIxNDg@._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="608" data-original-width="800" height="304" src="https://m.media-amazon.com/images/M/MV5BMmY4MzVhMTctZjVkYS00YzliLWEzNTUtZWQ5M2Y2ODYyMmRiXkEyXkFqcGdeQXVyNjQ5NTIxNDg@._V1_.jpg" width="400" /></a></i></span></div><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br /><div style="text-align: justify;"><span style="background-color: transparent; font-size: 15pt;">Os cenários
mostrados são simplesmente maravilhosos e nos fazem querer visitar as Montanhas
Rochosas canadenses. Viajar através dos filmes é uma realidade: de fato, nós
acabamos conhecendo muitos lugares primeiro através dos filmes, e só depois na
vida real, quando viajamos. Dan diz que não precisa de uma bela vista quando
tem Vicky consigo, mas eu discordo: as paisagens são mais bonitas que Betty
Grable.</span></div>
</span></i></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The landscapes shown are simply outstanding and make
you wish to visit the Canadian Rockies. Travelling through movies is a reality:
in fact, we get to know most places first through movies, and only later in
real life, when we travel. Dan says that he needs no scenery when he has Vicky,
but I disagree: the landscapes are more beautiful than Betty Grable.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://i.pinimg.com/736x/60/67/3b/60673bcde939bce6b0227992d57cb458--carmen-miranda-blondes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="724" data-original-width="736" height="393" src="https://i.pinimg.com/736x/60/67/3b/60673bcde939bce6b0227992d57cb458--carmen-miranda-blondes.jpg" width="400" /></a></i></span></div><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br /><div style="text-align: justify;"><span style="background-color: transparent; font-size: 15pt;">“Minha
Secretária Brasileira” é um remake de “Segunda Lua de Mel”, filme de 1937
estrelado por Tyrone Power e Loretta Young. Alice Faye deveria interpretar a
protagonista, mas engravidou e precisou deixar a produção. Entra então Betty Grable
e suas pernas de um milhão de dólares: o resultado é excelente. Grable traz vitalidade
e atrevimento ao papel, estando perfeita tanto em momentos musicais quanto nos
não-musicais.</span></div>
</span></i></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">“Springtime in the Rockies” is a remake of “Second
Honeymoon”, a 1937 film starring Tyrone Power and Loretta Young. Alice Faye was
supposed to play the lead, but got pregnant and had to leave the film. Enter
Betty Grable and her million dollar legs and the result is amazing. Grable
brings vitality and sass to the role, being perfect in both musical and
non-musical moments.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://s-media-cache-ak0.pinimg.com/736x/1a/a1/a4/1aa1a4bdaa9dbb82fd9192721d37b775.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="300" height="300" src="https://s-media-cache-ak0.pinimg.com/736x/1a/a1/a4/1aa1a4bdaa9dbb82fd9192721d37b775.jpg" width="400" /></a></i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div><span style="color: #cc0000;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><div style="text-align: justify;"><span style="font-size: 15pt;">Os números de dança
ficaram a cargo do lendário coreógrafo Hermes Pan. Tendo trabalhado em filmes como
“O Picolino” (1935) até “Minha Bela Dama” (1967), Pan foi um colaborador
constante nos filmes de Fred Astaire, e até foi dublê de corpo de Astaire.
Hermes Pan também dançou em frente às câmeras, tendo dançado em quatro filmes
com Betty Grable, mas este não é o caso em “Minha Secretária Brasileira”.</span></div><o:p></o:p></span></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The dances were staged by the legendary choreographer
Hermes Pan. A choreographer who worked in films like “Top Hat” (1935) to “My
Fair Lady” (1964), Pan was a constant collaborator on Fred Astaire movies, and
even was Astaire’s body double. Hermes Pan also danced on screen, appearing
alongside Betty Grable in four movies, but not in this “Springtime in the
Rockies”.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://theblondeatthefilm.files.wordpress.com/2016/03/springtime-in-the-rockies-76.jpg?w=640" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="486" data-original-width="640" height="304" src="https://theblondeatthefilm.files.wordpress.com/2016/03/springtime-in-the-rockies-76.jpg?w=640" width="400" /></a></i></span></div><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><br /><div style="text-align: justify;"><span style="background-color: transparent; font-size: 15pt;">O diretor é Irving
Cummings. Hoje um nome praticamente esquecido, na Era de Ouro de Hollywood Cummings
dirigiu vários filmes de sucesso. Ele começou como ator na Broadway, sendo
parte da lendária companhia de teatro de Lillian Russell. Ele fez seu primeiro
filme como ator em 1909 e em 1920 era um protagonista popular, quando começou a
dirigir. Alguns dos filmes que ele dirigiu foram “No Velho Arizona” (1928), “A
Pequena Órfã” (1935) com Shirley Temple, “Serenata Tropical” (1940) e “Minha
Namorada Favorita” (1942).</span></div>
</span></i></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">The director is Irving Cummings. Now a practically
forgotten name, in the Golden Age of Hollywood Cummings directed several
successful pictures. He had his start as an actor on Broadway, being part of
the legendary Lillian Russell’s company. He made his first film as an actor in
1909 and by 1920 was a popular leading man, when he started directing. Some of
the films he directed were “In Old Arizona” (1928), “Curly Top” (1935) with
Shirley Temple, “Down Argentine Way” (1940) and “My Gal Sal” (1942).<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><a href="https://m.media-amazon.com/images/M/MV5BN2E1MjczMjgtMDM5Yy00NmNkLTk5ZjQtYmQxMjBiYmYzYTZiXkEyXkFqcGdeQXVyMTA1NDM3NTMw._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="800" height="299" src="https://m.media-amazon.com/images/M/MV5BN2E1MjczMjgtMDM5Yy00NmNkLTk5ZjQtYmQxMjBiYmYzYTZiXkEyXkFqcGdeQXVyMTA1NDM3NTMw._V1_.jpg" width="400" /></a></i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div><span style="color: #cc0000;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><div style="text-align: justify;"><span style="font-size: 15pt;">Não importa se
você for ver o filme por Betty Grable ou por Carmen Miranda. “Minha Secretária
Brasileira” é um musical muito divertido. Pode não ter músicas chiclete ou
números de dança exagerados, mas é um bom exemplo do que os estúdios de
Hollywood estavam fazendo nos anos 40: puro entretenimento.</span></div><o:p></o:p></span></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><span style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">No matter if you watch it for Betty Grable or Carmen
Miranda, “Springtime in the Rockies” is a very enjoyable musical. It may not
have catchy songs or over-the-top dance numbers, but it is a fine example of
what Hollywood studios were doing in the 1940s: pure entertainment.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><o:p><span style="color: #cc0000;"> </span></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: transparent; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"><span style="color: #cc0000;">This is my contribution to the <b><a href="https://takinguproom.com/2023/07/01/the-betty-grable-blogathon-has-arrived/" target="_blank">Betty Grable blogathon</a></b>,
hosted by Rebecca at Taking Up Room.</span><span style="color: #1d2228;"><o:p></o:p></span></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="background: white; font-family: Georgia, serif; font-size: 15pt; line-height: 150%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://takinguproom.files.wordpress.com/2023/04/bgbanner1-3.jpg?w=691&h=362" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="361" data-original-width="691" height="209" src="https://takinguproom.files.wordpress.com/2023/04/bgbanner1-3.jpg?w=691&h=362" width="400" /></a></i></div><p></p>Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com4tag:blogger.com,1999:blog-5719905867000998397.post-7978805586768013252023-06-28T21:38:00.000-03:002023-06-28T21:38:25.992-03:00Como Gosteis (1936) / As You Like It (1936)<div><p><span style="font-size: large;"> </span></p><p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: #cc0000; font-family: Georgia, serif; font-size: large;"><span lang="en-US"><span style="font-style: normal;">Desde
os primórdios do cinema, Shakespeare parece ser uma fonte
inesgotável de histórias para serem filmadas. E não houve melhor
ator para interpretar Shakespeare que Laurence Olivier. Ver a
primeira vez em que ele interpretou Shakespeare num filme é como
embarcar em uma máquina do tempo e poder ter um vislumbre de todo o
talento e potencial – e beleza! - </span></span></span><span style="color: #cc0000; font-family: Georgia, serif; font-size: large;"><span lang="en-US"><span style="font-style: normal;">que
ele tinha aos 29 anos. Este primeiro filme Shakespeareano é “Como
Gosteis”</span></span></span><span style="color: #cc0000; font-family: Georgia, serif; font-size: large;"><span lang="en-US"><span style="font-style: normal;">
</span></span></span><span style="color: #cc0000; font-family: Georgia, serif; font-size: large;"><span lang="en-US"><span style="font-style: normal;">(1936).</span></span></span></p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="font-size: large;"><span style="color: #cc0000;"><br /></span></span>
</p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"><i><span style="background: transparent;">Since
the dawn of cinema, Shakespeare seems to be a never-ending source for
stories to be filmed. And there was no better actor to play
Shakespeare than Laurence Olivier. Seeing the first time he played
Shakespeare in a film is like embarking on a time machine and taking
a glimpse of all the talent and potential - and handsomeness! - he
had at age 29. This first Shakespearean flick is “As You Like It”
</span></i></span></span><span style="font-family: Georgia, serif;"><span lang="en-US"><i><span style="background: transparent;">(1936)</span></i></span></span><span style="font-family: Georgia, serif;"><span lang="en-US"><i><span style="background: transparent;">.</span></i></span></span></span></p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjurRHkPTnHtojJ2UlXl4JQXLrOtUic1rMbUUTMsdBXsmLKFMfkqKuH4oSkV3HHiASr0J5zjvP4OL4qLO6qSqMFQ5zoMJTtPREYEtor-TLqzSYrElaqLBQlZIAZncW2_bQmoPnCPE0dqZNPPjZOlQWH5-B-SiPVpqHVPRcvggiLPrLN-Lwp4CPuD6ApN-w/s736/as-you-like-it-movie-posters-3421685055.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="571" data-original-width="736" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjurRHkPTnHtojJ2UlXl4JQXLrOtUic1rMbUUTMsdBXsmLKFMfkqKuH4oSkV3HHiASr0J5zjvP4OL4qLO6qSqMFQ5zoMJTtPREYEtor-TLqzSYrElaqLBQlZIAZncW2_bQmoPnCPE0dqZNPPjZOlQWH5-B-SiPVpqHVPRcvggiLPrLN-Lwp4CPuD6ApN-w/w400-h310/as-you-like-it-movie-posters-3421685055.jpg" width="400" /></a></div>
<span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"><i><br />
</i></span></span></span></div><div><div style="text-align: justify;"><span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"><span style="font-style: normal;">Nosso
herói Orlando (Olivier) é um órfão que foi posto sob a tutela do
irmão mais velho e precisa lutar por sua liberdade. Lutar
literalmente: ele desafia Charles, o homem forte do povoado, numa
luta e vence. É nesta luta que ele conhece as primas Celia (Sophie
Stewart) e Rosalind (Elisabeth Bergner), e se apaixona por esta
última. </span></span></span></span></div>
<p></p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="font-size: large;"><span style="color: #cc0000;"><br /></span></span>
</p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"><i><span style="background: transparent;">Our
hero Orlando (Olivier) is an orphan who was put under the wings of
his older brother and needs to wrestle for his freedom. Literally
wrestle: he challenges Charles, the local strongman, in a wrestling
match and wins. It’s in that match that he meets the cousins Celia
(Sophie Stewart) and Rosalind (Elisabeth Bergner), and falls in love
with the latter.</span></i></span></span></span></p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse1.mm.bing.net%2Fth%3Fid%3DOIP.DKVKM0NIUFOJt3P0xRDGMQHaJj%26pid%3DApi&f=1&ipt=3ba5c6c6be686586750810a021d3d509d27ee3bac0f223e538d4b5abbf45d0f9&ipo=images" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="611" data-original-width="474" height="400" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse1.mm.bing.net%2Fth%3Fid%3DOIP.DKVKM0NIUFOJt3P0xRDGMQHaJj%26pid%3DApi&f=1&ipt=3ba5c6c6be686586750810a021d3d509d27ee3bac0f223e538d4b5abbf45d0f9&ipo=images" width="310" /></a></span></span></div><span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><i><br />
</i></span></span></div><div><div style="text-align: justify;"><span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"><span style="font-style: normal;">As
coisas não saem como planejado e, fugindo da ira do irmão, Orlando
vai viver na floresta junto a um grupo de homens que foram banidos do
reino, entre eles o pai de Rosalind. Mais apaixonado a cada dia,
Orlando escreve poemas e os pendura em árvores, além de escrever o
nome “Rosalind” no tronco das árvores. Um dia, sem seu vestido
elegante, Rosalind se apresenta para Orlando como um homem, o único
que pode fazê-lo se esquecer de seu amor impossível, e os dois
iniciam um flerte esquisito e constante.</span></span></span></span></div><p></p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="font-size: large;"><span style="color: #cc0000;"><br /></span></span>
</p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"><i><span style="background: transparent;">Things
don’t go as expected and, running away from his brother’s rage,
Orlando goes live in the forest with a group of men who have been
banished from the kingdom, among them Rosalind’s father. More in
love each day, Orlando writes poems and hangs them on trees, and
carves the name “Rosalind” in the trees. One day, without her
fancy dress, Rosalind presents herself to Orlando as a man, the only
one who can make him forget this impossible love, and the two start a
weird and constant flirt.</span></i></span></span></span></p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fc8.alamy.com%2Fcomp%2FBKNJY1%2Fas-you-like-it-1936-henry-ainley-elisabeth-bergner-paul-czinner-dir-BKNJY1.jpg&f=1&nofb=1&ipt=d7f53ba4d7bd4955a61b9aca8050e4e629a4eed3be5c30999fdc9a4ce5466ba9&ipo=images" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="589" height="400" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fc8.alamy.com%2Fcomp%2FBKNJY1%2Fas-you-like-it-1936-henry-ainley-elisabeth-bergner-paul-czinner-dir-BKNJY1.jpg&f=1&nofb=1&ipt=d7f53ba4d7bd4955a61b9aca8050e4e629a4eed3be5c30999fdc9a4ce5466ba9&ipo=images" width="295" /></a></span></span></div><span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><i><br />
</i></span></span></div><div><div style="text-align: justify;"><span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"><span style="font-style: normal;">O
nome de Laurence Olivier não é o primeiro nos créditos, esta honra
pertence a Elisabeth Bergner. Nascida no Império Austro-Húngaro,
num território que hoje faz parte da Ucrância, Bergner tinha como
língua materna o alemão e de fato interpretou Rosalind nos palcos
alemães. Fugindo da Alemanha quando Hitler chegou ao poder, ela
jurou que só voltaria a interpretar Shakespeare na Inglaterra quando
tivesse dominado a nova língua. Alguns críticos disseram que seu
sotaque alemão ainda é forte no filme, mas eu discordo. Bergner fez
seu primeiro filme em 1924 e já era uma atriz indicada ao Oscar
quando fez “Como Gosteis”. Neste filme, ela é dirigida por seu
marido Paul Czinner. Curiosidade: foi um episódio da vida de Bergner
que inspirou a história de “A Malvada” (1950).</span></span></span></span></div><p></p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="font-size: large;"><span style="color: #cc0000;"><br /></span></span>
</p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"><i><span style="background: transparent;">Laurence
Olivier isn’t first billed in the film, this honor belongs to
Elisabeth Bergner. Born in Austria-Hungary, </span></i></span></span><span style="font-family: Georgia, serif;"><span lang="en-US"><i><span style="background: transparent;">in
</span></i></span></span><span style="font-family: Georgia, serif;"><span lang="en-US"><i><span style="background: transparent;">a
territory that now is part of Ukraine, Bergner’s mother tongue was
German and she did portray Rosalind on the German stage. Fleeing
Germany when Hitler rose to power, she vowed to play Shakespeare
again in England only when she had mastered the new language. Some
critics say that her German accent was still strong in the film, but
I disagree. Bergner had made her film debut in 1924 and by the time
she made “As You Like It” she was already an Oscar-nominated
performance and was, in this film, directed by her husband Paul
Czinner. </span></i></span></span><span style="font-family: Georgia, serif;"><span lang="en-US"><i><span style="background: transparent;">Curious
tidbit: </span></i></span></span><span style="font-family: Georgia, serif;"><span lang="en-US"><i><span style="background: transparent;">It
was an episode of her life that inspired the short story that was the
basis for the film “All About Eve” (1950).</span></i></span></span></span></p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse1.mm.bing.net%2Fth%3Fid%3DOIP.ThjqyQeAHOiDyr5ZKSwXmgHaLH%26pid%3DApi&f=1&ipt=a6c9cb29e59daae67e86d732444716bd10940a260ef5a021727f63848b916e1c&ipo=images" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="711" data-original-width="474" height="400" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse1.mm.bing.net%2Fth%3Fid%3DOIP.ThjqyQeAHOiDyr5ZKSwXmgHaLH%26pid%3DApi&f=1&ipt=a6c9cb29e59daae67e86d732444716bd10940a260ef5a021727f63848b916e1c&ipo=images" width="267" /></a></span></span></div><span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><i><br />
</i></span></span></div><div><div style="text-align: justify;"><span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"><span style="font-style: normal;">David
Lean trabalhou como editor neste filme. Nascido em 1908 – o que faz
dele um ano mais novo que Olivier – David Lean já trabalhava como
editor desde 1930, quando começou em cinejornais. No final dos anos
30 ele já era um conhecido e reconhecido editor. Ele co-dirigiu seu
primeiro filme em 1942, e o resto é História. </span></span></span></span></div>
<p></p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="font-size: large;"><span style="color: #cc0000;"><br /></span></span>
</p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"><i><span style="background: transparent;">David
Lean worked as editor in this film. Born in 1908 - making him one
year younger than Olivier - David Lean had been working as an editor
since 1930, starting with newsreels. By the late 1930s Lean was
already a well-known and praised editor. He co-directed his first
film in 1942, and the rest is history.</span></i></span></span></span></p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><a href="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse1.mm.bing.net%2Fth%3Fid%3DOIP.vhtu62rdna6ZEbJW5aB1qQHaF8%26pid%3DApi&f=1&ipt=13fa7cf711ae78798ab962bacf5a0175eef24189c73ff27d3678d69482d149dc&ipo=images" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="474" height="321" src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse1.mm.bing.net%2Fth%3Fid%3DOIP.vhtu62rdna6ZEbJW5aB1qQHaF8%26pid%3DApi&f=1&ipt=13fa7cf711ae78798ab962bacf5a0175eef24189c73ff27d3678d69482d149dc&ipo=images" width="400" /></a></span></span></div><span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><i><br />
</i></span></span></div><div style="text-align: justify;"><span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"><span style="font-style: normal;">O
IMDb diz que um terço da peça original foi removido na adaptação
para as telas, mas o epílogo permaneceu. O texto original foi
mantido, cheio de formalidades. Acredita-se que a peça foi escrita
em 1599 e é descrita como uma comédia pastoral. Foi adaptada para o
cinema por J.M. Barrie, que escreveu “Peter Pan”. Considerando
que cross-dressing – ou melhor, uma mulher se apresentando como um
homem – é um ponto principal da trama, podemos afirmar que este
filme não seria feito em Hollywood sob o Código Hays, e ainda bem
que este é um filme britânico. Às vezes só os britânicos –
como Olivier – conseguem fazer justiça a Shakespeare, e mesmo uma
de suas peças menores pode se tornar um filme agradável se feito
pelas mãos certas.</span></span></span></span></div><p></p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="font-size: large;"><span style="color: #cc0000;"><br /></span></span>
</p>
<p align="justify" class="western" style="line-height: 150%; margin-bottom: 0cm;">
<span style="color: #cc0000; font-size: large;"><span style="font-family: Georgia, serif;"><span lang="en-US"><i><span style="background: transparent;">IMDb
says that one-third of the play was removed when adapted to the
screen, but they chose to retain the theatrical epilogue. The text
was kept as it was, full of “thy’s” and “thee’s”. The
play is believed to have been written in 1599 and is described as a
pastoral comedy. It was adapted to the screen by J.M. Barrie, who
wrote “Peter Pan”. Considering that cross-dressing - or rather, a
woman presenting as a man - is a main part of the plot, this film
wouldn’t be made in the US under the Hays Code, and we’re glad
this is a British film. Sometimes only the British - like Olivier -
can do their homeboy Shakespeare </span></i></span></span><span style="font-family: Georgia, serif;"><span lang="en-US"><i><span style="background: transparent;">j</span></i></span></span><span style="font-family: Georgia, serif;"><span lang="en-US"><i><span style="background: transparent;">ustice,
and even one of his lesser plays can become an enjoyable movie if
made by the right hands.</span></i></span></span></span></p>
Lêhttp://www.blogger.com/profile/02419693749682458647noreply@blogger.com0