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Cineclube Grupo Estaçãoecontracampo 1931 Tout ça ne vaut pas l'amour 1952 Way of a Gaucho (O Gaúcho) 1931 Un vieux garçon 1953 Appointment in Honduras (Almas Selvagens) 1933 Toto 1955 Stranger on Horseback (O Cavaleiro Misterioso) 1933 Pour être aimé 1955 Into the Night apresenta 1934 Les Filles de la concièrge [episódio de General Electric Theater] 1936 The Jonker Diamond 1955 Wichita (Choque de Ódios) 1936 Harnessed Rhythm 1956 Kristi [episódio de "Jane Wyman Presents The Fireside Theatre"] sessão 1936 Master Will Shakespeare 1956 Great Day in the Morning 1936 Killer-Dog (Pelo Sangue de Nossos Irmãos) cineclube 1937 The Rainbow Pass 1957 Night of the Demon / The Curse of the Demon 1937 The Grand Bounce (A Noite do Demônio) 1937 The Boss Didn't Say Good Morning 1957 Nightfall (A Maleta Fatídica) 1937 Romance of Radium 1957 The Steep Hill 1937 The King Without a Crown [episódio de "The Walter Winchell File"] 1937 The Man in the Barn 1958 Cool and Lam [tv] 1937 What Do You Think? 1958 The Fearmakers (Fabricantes do Medo) 1938 The Ship That Died 1958 The Gunsmith [episódio de "Northwest Passage"] 1938 Strange Glory 1958 The Bound Women 1938 What Do You Think? (Number Three) 15 de Fevereiro de 2006 - Ano IV – Edição nº 114 [episódio de "Northwest Passage"] 1938 The Face Behind the Mask 1958 Break Out [episódio de "Northwest Passage"] 1938 What Do You Think? Tupapaoo 1958 The Assassin [episódio de "Northwest Passage"] 1938 Think it Over 1958 The Traitor [episódio de "Northwest Passage"] 1939 Yankee Doodle Goes to Town 1958 The Vulture [episódio de "Northwest Passage"] 1939 They All Come Out (Escravos do Mal) 1959 Mission of Danger 1939 Nick Carter, Master Detective ) 1959 Timbuktu (Timbuktu) (Nick Carter, Super Detetive) 7 1959 Frontier Rangers 7 1940 Phantom Raiders (Nick Carter nas Nuvens) 9 1959 The Alaskans [série de tv] 1941 Doctors Don't Tell (Silêncio de Médico) 1 1959 La battaglia di Maratona - 1942 The Incredible Stranger (O Gigante de Maratona) A 4 1942 The Magic Alphabet I 1960 Aftermath 0 1942 Cat People (Sangue de Pantera) [tv, episódio de "General Electric Theater"] 9 F 1 1943 I Walked with a Zombie (A Morta-Viva) 1960 The Barbara Stanwyck Show [série de tv] ( 1943 The Leopard Man (O Homem Leopardo) 1960 Denver McKee [episódio de "Bonanza"] A r 1944 Days of Glory (Quando a Neve Voltar a Cair) u 1961 Fury River e R 1944 Experiment Perilous (Idílio Perigoso) 1961 Star Witness: The Lili Parrish Story n 1946 Canyon Passage (Paixão Selvagem) [episódio de "General Electric Theater"] r G u 1947 Build My Gallows High / Out of the Past 1962 A Bride for the Captain o (Fuga do Passado) [tv, episódio de "Adventures in Paradise"] O T 1964 The Comedy of Terrors (Farsa Trágica) 1948 Berlin Express (Expresso para Berlim) s 1949 Easy Living (Tormento de uma Glória) 1964 Night Call [tv, episódio de "The Twilight Zone"] e M 1950 Stars in My Crown (O Testamento de Deus) 1965 The City Under the Sea u (Monstros da Cidade Submarina) L q 1950 The Flame and the Arrow (O Gavião e a Flecha) c I 1951 Circle of Danger 1966 The Ring of Anasis [tv, episódio de "T.H.E. Cat"] a F J 1951 Anne of the Indies (A Vingança dos Piratas) sessão cineclube próxima sessão SANGUE DE PANTERA de Jacques Tourneur Mediação do Debate: 1/3 OS ESQUECIDOS Luiz Carlos Jr. e Ruy Gardnier. de Luis Buñuel Programação e Produção: Grupo Estação e Contracampo. Uma mulher é vítima de uma maldição de família, Cat People – EUA, 1942, P&B, 74min Direção: Jacques Tourneur. que faz com que ela se transforme numa pantera Roteiro: DeWitt Bodeen. sempre que fica emocionalmente excitada. colaboração realização Fotografia: Nicholas Musuraca. Montagem: Mark Robson. Música Original: Roy Webb. A C Produção: Val Lewton. I N Elenco: Simone Simon, Kent Smith, Tom C Conway, Jane Randolph. É E T S P A O H N C I www.contracampo.com.br www.estacaovirtual.com I F S Simone Simon morreu dia 22 de fevereiro de 2005, com pouca ou Quarto e quinto fotogramas: grande elipse para o final do nenhuma atenção para o fato. Inútil dizer como justificativa que ela filme. Aqueles que conhecem Sangue de Pantera sabem que mesma abandonou sua carreira em meados dos anos 50, depois de duas omitimos as duas cenas mais famosas, e aquelas em que o pérolas com Max Ophüls, já tendo anteriormente feito filmes com suspense aparece com mais força: a cena da caminhada de William Dieterle, Allan Dwan e Jean Renoir (A Besta Humana): para Alice Moore perseguida pelos sons de pantera com a qualquer um que já assistiu a algum desses filmes – e em todo caso é este imagem ameaçadora tendo presença imaginária apenas no Sangue de Pantera que toma a primazia da memória, sem dúvida –, esse fora-de-campo, e posteriormente a cena em que essa rosto tornou-se inesquecível para quem o viu mesmo por uma única vez. mesma Alice se vê perseguida pela pantera na piscina, numa Uma beleza estranha, irradiada menos do equilíbrio dos traços do que de cena em que igualmente om perigo é todo construído pelo uma espécie de sinuosidade viciosa, um rosto pecaminoso em si, apesar extra-campo, sob a forma dos rugidos de animal e pela de si mesmo, do qual Jacques Tourneur consegue retirar todas as suas maneira como o corpo de Alice se move na água (e pelos potencialidades. Pois é em torno de sexualidade e repressão feminina reflexos fluidos nas paredes). Nosso estudo é sobre os que gira e evolui a história de Sangue de Pantera, e assim segue o rostos. Assim, passamos diretamente ao momento em que percurso do rosto de Simone Simon. Irena, atendendo aos convites freqüentes de um psiquiatra malandrão que deseja tirar proveito de sua paciente, Primeiro fotograma: começo do filme, ela desenha uma pantera no finalmente cede à tentação e torna-se a pantera que ela zoológico, enquanto nosso herói está à espreita. Mal sabe ele que é a tanto temia transformar-se na frente de Oliver. Atenção para própria presa: ela o arrebata por seu charme e o conduz até sua casa, com como a transformação de Irena em pantera se dá o argumento de que não tem amigos porque está a pouco tempo no país e inicialmente em frente à câmera, primeiro iluminada à suas relações de trabalho não lhe permitem tantos contatos. Marlene Dietrich, em north light – a luz que vem do céu, que Comportamento animal, instintivo, sangue de pantera que inicialmente ela capta o instante da liberação do instinto, a concretização do não recusa, muito ao contrário: tenta lhe dar vazão completa. Simon destino – para em seguida obstruir a luminosidade e a sensual, rosto levemente desequilibrado para a direita (esquerda da tela), visibilidade do rosto de Irena. O rosto fica distorcido, o olho com olho menor e um sorriso de lado – que, junto com o sotaque passa a refletir um brilho assustador, e o corpo se retorce, se fortemente estrangeiro – que seduzem o pobre projetista. À medida que a aproxima da câmera e o rosto desce, se conformando ao misteriosa Irena Dubrovna vai se apaixonando pelo maravilhado Oliver, porte físico de um felino. O semblante extático, de entrega nasce o problema com a maldição: o despertar do desejo sexual na mulher aos instintos e ao destino, transforma-se em olhar de é identificado com o desejo assassino de matar sua presa. A entrada na Lei estupor, quase de despersonalização. (o casamento) se confunde com a auto-repressão. Irena frígida. Sexto fotograma: por fim, a continuação da seqüência, a Segundo fotograma: rosto equilibrado, neutro, angelical. A iluminação cena do ataque, que se dá igualmente por sugestão, com a A incide diretamente sobre o rosto de Irena, que sofre para contar de seu câmera flagrando apenas através das sombras a luta entre auto-isolamento para não ferir ninguém. A conversa tem lugar a 15 minutos R Irena-tornada-pantera e o doutor. Momento decisivo, e de filme, logo antes da cena do jantar de casamento. O périplo traumático E também o tipo de cena que faz a fama de Tourneur, essa contiuará a funcionar mais fortemente após o casamento: mais conversas T espécie de "terror branco" (que encontra seu correlato no sobre desejo, sobre o casamento não-consumado (a ausência do ato paroxista "noir branco" de Fuga do Passado) que se N sexual), ciúmes que recaem sobre a bela colega de trabalho Alice Moore e preocupa muito mais na criação das atmosferas do que em a raiva que também desperta em Irena seu lado destruidor. Mas aqui nada A recompensar o espectador mostrando na tela o horror que disso. Aqui, é nossa musa em seu aspecto mais frágil, mais um bebê felino ele tem que imaginar fora dela. Mas essa cena só funciona P do que uma pantera. sob medida, e nesse aspecto de forma muito mais E Terceiro fotograma: no jantar de casamento, quando tudo parece agradável interessante do que a cena da pantera no escritório, e Irena Dubrovna, agora portando o sobrenome Reed, finalmente parece porque associamos imediatamente a sombra na parede ao D r aclimatada a Oliver, a seus amigos e ao novo país, surge a pantera-irmã para rosto de Irena que se transfigura a nossa frente. É ainda um e i lembrá-la da maldição. Outro rosto vicioso, rosto de gato ("looks like a cat", rosto, um primeiro plano, que nos assombra e que vemos E n quando pressentimos o ataque e posteriormente o d diz um dos convivas do casal), que mia numa língua inteligível apenas para r U sua colega de espécie.
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