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October 4, 2011 (XXIII:6) Marcel Camus, BLACK ORPHEUS/ORFEU NEGRO (1959, 100 Min)

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October 4, 2011 (XXIII:6) Marcel Camus, BLACK ORPHEUS/ORFEU NEGRO (1959, 100 Min) October 4, 2011 (XXIII:6) Marcel Camus, BLACK ORPHEUS/ORFEU NEGRO (1959, 100 min) Directed by Marcel Camus Written by Marcel Camus and Jacques Viot, based on the play Orfeu du Carnaval by Vinicius de Moraes . Produced by Sacha Gordine Original Music by Luiz Bonfá and Antonio Carlos Jobim Cinematography by Jean Bourgoin Film Editing by Andrée Feix Production Design by Pierre Guffroy Breno Mello...Orfeo Marpessa Dawn...Eurydice Marcel Camus...Ernesto Fausto Guerzoni...Fausto Lourdes de Oliveira...Mira FAUSTO GUERZONI (January 13, 1904, Nonantola, Modena, Léa Garcia...Serafina Emilia-Romagna, Italy – June 1, 1967) appeared in 72 films, Ademar Da Silva...Death some of which were 1964 “I miserabili,” 1960 The Magistrate, Alexandro Constantino...Hermes 1959 Black Orpheus, 1954 Frisky, 1950 His Last Twelve Hours, Waldemar De Souza...Chico 1941 The King's Jester, 1938 Under the Southern Cross, and Jorge Dos Santos...Benedito 1936 Ballerine. Aurino Cassiano...Zeca LOURDES DE OLIVEIRA (December 17, 1938, Rio de Janeiro, Academy Award – 1960 – Best Foreign Language Film (1959) Rio de Janeiro, Brazil) appeared in only two films, this one and 1961 The Pioneers. MARCEL CAMUS (21 April 1912,Chappes, France—13 January 1982, Paris) directed one film before Black Orpheus (Mort en LÉA GARCIA (March 11, 1933, Rio de Janeiro, Rio de Janeiro, fraude/Fugitive in Saigon, 1957) and directed eight after it, but Brazil) appeared in 51 films and tv series, among them, 2010 he never again was as successful or as interesting. After Atlantic Mon père, Francis le Belge, 2009 A Lei e o Crime (17 episodes), Wall (1979) and with the eception of Bahia (179), he spent the 2007 Luz do Sol (29 episodes), 2006 The Greatest Love of All, rest of his career directing TV episodes and mini-series. 2003 Viva Sapato! 1999, Orfeu, 1994 A Viagem (2 episodes), 1978 A Noiva da Cidade, 1977 Sweet Thieves, 1961 The BRENO MELLO (September 7, 1931, Porto Alegre, Rio Grande Pioneers, and 1959 Black Orpheus. do Sul, Brazil – July 14, 2008, Porto Alegre, Rio Grande do Sul, Brazil) appeared in only five other films: 1988 Prisoner of Rio, ADEMAR DA SILVA (September 29, 1927, São Paulo, Brazil— 1973 O Negrinho do Pastoreio, 1964 O Santo Módico, 1963 Os January 12, 2001, São Paulo, Brazil) was in only in role one in Vencidos, and 1963 Rata de Puerto. one film: Death, in this one. MARPESSA DAWN (January 3, 1934, Pittsburgh, Pennsylvania – JEAN BOURGOIN (4 March 1913, Paris, France—3 Septermber August 25, 2008, Paris, France) appeared in 17 other films, 1991, Paris ) was assistant cameraman on Jean Renoir's La among them 1995 Sept en attente, 1979 Private Collections, Grande illusion (1937). His last film was La Chambre rouge/The 1973 Lovely Swine, 1958 The Woman Eater and 1957 Native Red Room (1972). Some of his 50 other films were The Longest Girl. Day (1962, for which he won an Oscar), Mr. Arkadin (1955), Nous sommes tous des assassins/We Are All Murderers (1952), Camus—BLACK ORPHEUS—2 La Marseillaise (1938) and Une partie de campagne/A Day in One day, near Tempe, in the valley of the river Peneius, the Country (1936). Eurydice met Aristaeus, who tried to force her. She trod on a serpent, as she fled, and died of its bite; but Orpheus boldly Marcel Camus France, 1912-82 from The Rough Guide to descended into Tartarus, hoping to fetch her back. He used the Film. Richard Armstrong, Tom Charity, Lloyd Hughes & passage which opens at Aornum in Thesprotis and, on his arrival, Jessica Winter. Rough Guides, London, 2007. not only charmed the ferryman Charon, the Dog Cerberus, and In a career lasting the three Judges of the Dead with his plaintive music, but over thirty years temporarily suspended the tortures of the damned; and so far Camus made soothed the savage heart of Hades that he won leave to restore idealistic films that Eurydice to the upper world. Hades made a single condition: that examined love, Orpheus might not look behind him until she was safely back condemned war under the light of the sun. Eurydice followed Orpheus up through and exuded the the dark passage, guided by the sounds of his lyre, and it was atmosphere of only when he reached sunlight again that he turned to see exotic countries whether she were still behind him, and so lost her for ever. and their music. But he is best From the Larousse Encyclopedia of Mythology, ed. Robert known for just one Graves: Orpheus was inconsolable and, some said, killed brilliant film which himself. But the more widely held opinion was that he was torn combines many of in pieces by Thracian women who were infuriated at this single- these traits, Orfeo minded love for his wife. Negro (Black Orpheus, 1959). “Black Orpheus: Dancing in the Streets,” by Michael Camus Atkinson, from Criterion Comment was an art teacher Before Marcel Camus’ Black Orpheus showed up on but spent World American and European screens in 1959, what would later be War II in a POW known as the “art film” came in only a few shades of glum: camp where he designed and directed plays. After his release he Bergmanesque existentialism, Japanese samurai tragedy, stories worked as an assistant to various directors including Jacques of Italian peasant life, French protonoir. No one thought to Becker, Luis Buñuel, Henri Decoin and Jacques Feyder. His first buckle up when a Brazilian movie arrived in town, and what film was the documentary short Renaissance du Havre (1948) happened then was close to an intercultural awakening, from but it was not until 1957 that he was able to direct his first Cannes to L.A. to Tokyo—suddenly, filmgoers knew the fiery feature. La Mort en fraude (Fugitive in Saigon, 1957). Set power of the South American sun, the frantic colors of Brazilian during the Indo-Chinese war, it was the first of several anti-war style, the dizzying blast of relentless samba, and the rangy life films and pronouncements from Camus. Orfeo negro won an lived in the slums of Rio, all of it bouncily packaged around the Oscar, but Os bandeirantes (The Pioneers, 1960) and L’oiseau Orpheus myth and the swoony fervor of Carnival. It was difficult de paradis (Dragon Sky, 1962) were perceived as disappointing not to be dazzled—Black Orpheus stood for decades as one of in comparison. Le chant du monde (Song of the World, 1965), a the most popular films ever imported to the U.S., and people who pastoral Romeo and Juliet story, was seen as overly sentimental, encountered it midcentury have loved it their whole life. and the wartime comedy Le mur de l’Atlantique (Atlantic Wall, Certainly, Black Orpheus is one of the most remarkable 1969), though amusing, was essentially lightweight. A few more one-hit wonders in film history. Camus, a Frenchman who had films followed before he turned to television in 1973. Ultimately, assisted Jacques Becker in the late 1940s and 1950s, went to Orfeo negro was a brilliant one-off success. Brazil after directing only one feature (Fugitive in Saigon), became intoxicated by Carnival, and made Black Orpheus and a from The Greek Myths v.1.Robert Graves. Penguin, handful of other, sparsely distributed films there, before moving Baltimore Maryland, 1966 on to Cambodia for a project and then back to France. After that, he directed a fair amount of episodic TV, dying in 1982. Camus Orpheus, son of the Thracian King Oeagrus and the Muse claimed to be a lifelong adherent of Orphism, a pre-Christian Calliope, was the most famous poet and musician who ever lived. stew of reincarnation beliefs and purgatorial atonement, but Apollo presented him with a lyre, and the Muses taught him its because of his sparse résumé, Black Orpheus is hardly open to an use, so that he not only enchanted wild beasts, but made the auteurist appreciation—it stands alone, in the heat and on hotsy- rocks and trees move from their places to follow the sound of his totsy legs. It is, of course, exposed to the kinds of sociopolitical music. At Zone in Thrace a number of ancient mountain oaks are readings that have become de rigueur in the years since it still standing in the pattern of one of his dances, just as he left appeared, and it’s easy to look at Camus’ film with a jaundiced them. eye and see a white European man’s romanticized, even After a visit to Egypt, Orpheus joined the Argonauts, orientalist, portrait of poor brown third worlders, for whom with whom he sailed to Colchis, his music helping them to poverty is one long, breathless party. overcome many difficulties—and, on his return, he married But let’s stop right there and consider that Carnival Eurydice, whom some called Agriope, and settled among the itself is surely proof that these poor people party well enough savage Cicones of Thrace. without any help from white Europeans, thank you, and that Camus—BLACK ORPHEUS—3 frowning on Black Orpheus for its rainbow romanticism is akin da Conceição), don’t make a big deal about the mythological to damning the very musical traditions it celebrates. Before the parallels—characters notice the confluence of names when late fifties, when bossa nova exploded around the world—thanks trolley driver Orfeu (soccer pro Breno Mello) meets and falls for in part to the success of this film—Americans thought of Carmen new girl in town Eurídice (Marpessa Dawn) and find the Miranda when they thought of South American culture, and her coincidence merely amusing. persona and songs were only the tritest charades of ethnicity.
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