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Horror, Sexo E Explora~Ao No Cinema I Lucio De Franciscis Dos Reis Piedade

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Horror, Sexo E Explora~Ao No Cinema I Lucio De Franciscis Dos Reis Piedade UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES Mestrado em Multimeios A CULTURA DO LIXO HORROR, SEXO E EXPLORA<;AO NO CINEMA LUCIO DE FRANCISCIS DOS REIS PIEDADE exemplar e a reda<;ao da dissertayao defendida pelo Sr/Lucio De Franciscis ~os Reis PiecJade . ' '~ova<\_a pela Disserta9ao apresentada ao Curso de Mestrado Com1ss.ral(i.·'!. <;~o·· .. file · /ll'/2002. em Multimeios do lnstituto de Artes da UN ICAMP i \! . i l: "\b'\ i \\ ' -------------t----\\Tf\- '!-1:; -*:.---------------­ como requisito parcial para a obten9ao do grau 1 ,_ \~~ de Mestre em Multimeios sob a orienta9ao do ~~~~~.,;\~\ ~~~~~~----' Prof. Dr. Marcius Cesar Soares Freire. CAMPINAS- 2002 V EX ..,.,"'n"n"" TOMBO SCI 5 3:I16 PROC.c] A;;;_, l.f /0o[ll C PAE!;O $'"" -1,-'!P DATAs/nY roa: N'CPD_ 1. CM001821 i ~ .. FICHA CAT ALOGRAFICA ELABORADA PELA BffiLIOTECA DO IA. - UNICAMP Piedade, Lucio De F ranciscis dos Reis. P595c A cultura do lixo: horror, sexo e explora~ao no cinema I Lucio De Franciscis dos Reis Piedade. - Campinas,SP: [s.n.], 2002. Orientador: Marcius Cesar Soares Freire. Disserta~ao ( mestrado) - Universidade Estadi.Jal de Campinas, Institute de Artes. I . Cinema- hist6ria. 2. Sexo no cinema. 3. Filmes de horror. L Freire, Marcius Cesar Soares. II. Universidade Estadual de Campinas.Instituto de Artes. Ill. Titulo. Para Lucia, minha mulher, pelo apoio e pela paciencia. 3 Agradeqo a CAPES pelo apoio, atraves de balsa concedida entre os meses de novembro de 2001 e outubro de 2002. 4 Resumo: 0 presente trabalho e uma investigayao das relayoes entre o cinema de horror eo que se convencionou chamarfilmes exploitation- filao vasto e prolffico que se desenvolveu a mar­ gem da industria principaL Atraves de uma retrospectiva hist6rica, pretendemos estabelecer os pontes em que se cruzam essas tendencias, na explora9ao do horror explfcito - o assim chamado "sangue-e­ tripas" -, do sexo e da violencia. Vamos destacar a evoluyao do modo de exibi9ao desses elementos e os marcos determinantes que configuraram o perfodo que compreende as deca­ das de 50, 60 e 70 como uma epoca de ouro para o horror eo exploitation no cinema, centra­ lizando a pesquisa no eixo lnglaterra-Estados Unidos, Europa e Brasil. 5 Sumiirio lntrodu~ao 7 Capitulo 1 - Definindo Exploitation 12 Capitulo 2- Os caminhos do Horror 20 Os primeiros a nos 25 Os anos 50 29 Os anos 60 31 Os anos 70 50 Capitulo 3- Pesadelo Americana: o fim da inocencia 65 0 verdadeiro psicopata americana 65 No corac;:ao da America 69 Urn psicopata para o entretenimento do publico 77 ... "E apenas urn filme!" 81 Familas em conflito 85 Estabelecendo urn padrao 89 Uma estranha menina chamada Carrie 91 A Maldic;:ao de Michael Myers 95 A Volta dos Mortos Vivos 97 0 crepusculo de uma gerac;:ao 100 0 despertar do pesadelo 103 Capitulo 4- Fruto Proibido: A Industria do Exploitation 108 Mr. Teas e os nudie cuties 113 A estrada para a perdic;:ao: roughies. kinkies e ghou/ies 116 0 imperio do sexploitation: sexo, horror e sadism a 130 Hardcore: o rom pimento da fronteira final 135 0 canto do cisne da velha guarda: nazistas, monstros e tarados 148 A gera<;:iio do video 154 Capitulo 5- A Contribuic;ao Europeia: ltiilia, Franc;a e Espanha 160 Horror e exploitation com gosto de spaghetti 161 Franc;:a: medicos loucos, pervertidos e vampiros 171 Horror e exploitation a espanhola 173 Outras considera<;:Oes 179 Novas tendencias 180 Capitulo 6 - Sexo e Horror no Cinema Brasileiro 184 0 despertar da besta: Ze do Caixao 186 Ivan Cardoso eo "terrir" 192 Sexo e violencia no cinema de Mojica e Cardoso 194 Tara, horror e sacanagem: exploitation a brasileira 195 Nova gera<;:iio, novas rumos 206 Conclusao 214 Bibliografia 218 Nota sabre as ilustrac;oes 222 6 INTRODUCAO "Ladies and gentlemen, welcome to violence; the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle stiff remains sex". do fifme Faster Pussycat, Kiffl! Kill! 0 presente trabalho e, antes de mais nada, um mergulho em inesgotavel filao da indus­ tria do entretenimento. Atraves de uma retrospectiva inicial nas bases do cinema de horror e explora<;:ao, vamos buscar as influencias que viriam a ser incorporadas ao que convencionou­ se chamar de fi/mes exploitation. lremos tratar de um segmento na vasta linhagem defilhos bastardos do cinema-espeta­ culo, feitos a margem da grande industria. Se por um lado grande parte dessas produ<;:6es surge na esteira dos grandes lanyamentos compensando seus baixos or<;:amentos com apelos explicitos aos instintos dos espectadores, par outro, um numero tambem significativo possui identidade propria e diferenciada. Muitas vezes esses apelos tornam-se, nas maos de certos realizadores, elementos transgressores por irem de encontro as estruturas sociais, politicas ou religiosas vigentes, mesmo que esses apelos, em muitos casas, se apresentem de forma con­ tradit6ria. Assim, observados com mais atenyao, nao e raro encontrar rasgos de conservadorismo ou preconceitos neles inseridos. De qualquer modo, estabelecem um vinculo com a plateia mostrando o que s6 e possivel dentro de um esquema marginaL Seus padr6es esteticos e narrativos fogem daqueles estabelecidos pelas principais correntes do cinema convencional e, por estarem distantes dos grandes estudios, gozam de uma certa liberdade criadora. Conse­ guem, desse modo, reunirfileiras defas que, nao raramente, os elevam a posiyao discutivel de cult movies. Sao comercialmente predat6rios, pais muitas vezes o que vale e fazer filmes de baixo or<;:amento, dando ao publico altas doses de violencia, sexo e sadismo. Por outro lado, 7 reavaliados, muitos dos filmes produzidos dentro dessa linha, superaram as expectativas de publico e crftica, tornando-se pontos de referencia ao renovarem ou determinarem novas ru­ mos ao genero a que estavam vinculados. Foi o caso de produc;oes de baixo orc;amento como A Noite dos Mortos Vivos (The Night of the Living Dead/1968), de George Romero; 0 Massa­ cre da Serra Eletrica (TheTexas Chainsaw Massacre/1974), de Tobe Hooper; Aniversario Sangrento (The Last House on the Left/1972) e Quadrilha de Sadicos (The Hills Have Eyes! 1977), de Wes Craven; e Halloween (1978), de John Carpenter. Romero, alias, foi quem abriu caminho para a vertente da violencia explfcita denominada de splatter' ou gore, com suas ce­ nas de canibalismo, grande tabu ainda em fins dos anos 60. Apesar de nao ser pioneiro neste quesito, ja que antes dele Herschell Gordon Lewis mostrava o sangue-e-tripas grafico em seu filme mais conhecido, ao qual daremos destaque mais adiante: Banquete de Sadicos(Biood Feast/1963). Desde os fins dos anos 80, o chamado cinema trash deixou os poroes onde estavam encerrados e as prateleiras dos fundos das video-locadoras, para se tornarem alvo de mostras e de interesse da mfdia. Assistimos a uma "valorizayao" do que antes era considerado de mau gosto. Ganhando a alcunha de cult, foram redescobertos e tomaram a vez em discussoes que, em geral, versavam sobre o chamado "cinema de arte". Estava na moda se falar em Ed Wood - conhecido como o pior diretor de todos os tempos -, em Jose Mojica Marins e no produtor Roger Corman que, certa vez, ao responder sobre o que faria com um orc;amento de cem milh6es de d61ares para produzir um filme, disse: "Faria dez filmes de dez milh6es cad a". No infcio da decada de 90, o publico brasileiro se viu afrente de um fen6meno que, ate aquele memento, s6 dizia respeito aos americanos, com a sua tendencia de fazer convenc;6es e cultuar grande parte dos produtos da industria cultural, desde series de tv e revistas em quadrinhos ate os mais estranhos filmes produzidos. lsso nao quer dizer que esses filmes fos­ sem alga distante ou desconhecido do publico brasileiro. Muito pelo contrario. Horror e exploitation sempre foram populares no Brasil. Do Horror radiof6nico de I ncr!vel! Fantastical Extraordinario', deAimirante2 , ate a Espantomania3 do infcio dos anos 80. Parte dos filmes de que trataremos aqui, inclusive, passaram ou foram lanc;ados em video por aqui. Mas nunca considerados centro de atenc;ao. 0 fato e que sempre convivemos com essas produc;6es, chamadas B, trash ou exploitatives, mesmo sem perceber que existe uma distinyao- vaga em muitos casos- entre elas. 0 grande problema e que, por seu carater marginal, pode-se dizer, mesmo "maldito", quem gostava desses filmes nao assumia, ou se assumia, considerava-se uma excec;ao, um entre poucos. Em geral desprezadas pel a criticos e praticamente ignoradas nos meios acade­ micos, tais produc;oes eram vistas apenas pelo seu carater cac;a-nfqueis ou alienador, talvez 8 por serem consideradas o que de pi or a industria cultural pudesse impor. 0 modismo do trash no infcio dos 90, que teve como ponto culminante a 6"Mostra Ban­ co Nacional de Cinema, como todo o modismo foi passageiro. Apresentou ao publico brasilei­ ro o cinema de Ed Wood, deu novo f61ego e abriu as portas do mercado norte-americano ao trabalho de Jose ("Coffin Joe") Mojica Marins e, principal mente, serviu para mostrar que havia um Iugar ao sol para esse tipo de produyao, insinuando que esses filmes estranhos e bizarros representavam tanto os anseios do publico, como eram frutos de uma cultura popular. Oeste modo, mereceriam um outro tipo de atenyao e uma reavaliar;:ao, inclusive tirando do limbo os poucos produtores e diretores brasileiros que enveredaram por esse caminho. Assistir a esses filmes pode ser associado a sentar em volta da fogueira para ouvir hist6rias de assombrar;:ao, folhear solitario as paginas de uma revista de fotos provocantes, discutir em uma rodinha de amigos os detalhes macabros de algum crime ou ler em um jornal popular as noticias sobre a "loura do banheiro"4 ou outras criar;:Oes do imaginario coletivo.
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