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André Piazera Zacchi O BONECO DE ALBERTO CAVALCANTI

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André Piazera Zacchi O BONECO DE ALBERTO CAVALCANTI André Piazera Zacchi O BONECO DE ALBERTO CAVALCANTI Dissertação de Mestrado submetida ao Programa de Pós-graduação em Literatura da Universidade Federal de Santa Catarina para a obtenção do Grau de Mestre em Literatura. Orientador: Prof. Dr. Raúl Antelo. Florianópolis 2013 RESUMO Em 1945, no filme Dead of night, Alberto Cavalcanti propõe o conceito de boneco. O boneco estabelece uma relação polar com seu mestre, ventríloquo, na qual ocorre uma gradual inversão de papéis. O conceito, proposto em imagens, é um paradigma a ser justaposto aos demais filmes do cineasta balizando a busca de uma poética. Um filme é uma articulação de partes, de movimentos que caracterizam uma montagem, que fazem uma ideia ganhar vida. Nas montagens de Cavalcanti predomina uma imagem-percepção que transita entre dois polos: a percepção num estado líquido, de um universo de imagens que interagem em todas as suas partes e em todas as suas faces, e um estado sólido da percepção, em que as imagens orbitam em torno de uma imagem especial, aglutinadora, de um centro de indeterminação. Palavras-chave: Cavalcanti. Boneco. Montagem. Percepção. ABSTRACT In 1945, in the film Dead of night, Alberto Cavalcanti proposes the concept of the puppet (dummy). The puppet establishes a polar relationship with its master, the ventriloquist, in which a gradual inversion of roles takes place. The concept, proposed in images, is a paradigm to be juxtaposed with the filmmaker's other films, beaconing the search for his poetic. One film is an articulation of its parts, movements that characterise the montage, which make an idea come to life. In Cavalcanti's montage, predominates an image- perception that transits between two poles: the perception in the liquid form, in an universe of images that interact in all its parts and in all its facets, and the perception in the solid form, in which the images orbit around one special agglutinating image, a center of indetermination. Key words: Cavalcanti. Puppet. Montage. Perception. LISTA DE FIGURAS Figura 1 – Policial enquadrado ao fundo__________________________ 37 Figura 2 – Policial conduz Frère_________________________________ 37 Figura 3 – Frère tapa a boca de Hugo ____________________________ 39 Figura 4 – A mordida do boneco ________________________________ 39 Figura 5 – Boneco entre os ventríloquos _________________________ 40 Figura 6 – Frère no centro _____________________________________ 40 Figura 7 – Autômato jogador de xadrez __________________________ 46 Figura 8 – Autômato jogador de xadrez __________________________ 46 Figura 9 – Les Deux Pantalons (1616) ____________________________ 71 Figura 10 – Balli di Sfessania (1622) _____________________________ 71 Figura 11 – Coalface _________________________________________ 81 Figura 12 – O canto do mar: último plano _______________________ 103 Figura 13 – Rien que les heures: Boneca _________________________ 106 Figura 14 – Rien que les heures: Boneca _________________________ 107 Figura 15 – Rien que les heures: título entre barras de ferro _________ 111 Figura 16 – Rien que les heures: mapa de Paris ___________________ 111 Figura 17 – Coalface: mapa ___________________________________ 115 Figura 18 – Coalface: mapa ___________________________________ 115 Figura 19 – We live in two worlds ______________________________ 117 Figura 20 – We live in two worlds ______________________________ 118 Figura 21 – We live in two worlds: dança ________________________ 118 Figura 22 – O canto do mar: mapa _____________________________ 119 Figura 23 – O canto do mar: chão ______________________________ 120 Figura 24 – Rien que les heures ________________________________ 121 Figura 25 – Rien que les heures ________________________________ 122 Figura 26 – Assinaturas de pintores famosos _____________________ 123 Figura 27 – Olhos se proliferam na tela _________________________ 123 Figura 28 – Escoamento de uma chuva noturna ou fluxo dos esgotos a céu aberto ___________________________________________________ 124 Figura 29 – Flores __________________________________________ 125 Figura 30 – Lixo ____________________________________________ 125 Figura 31 – Verduras ________________________________________ 126 Figura 32 – Casa simples _____________________________________ 127 Figura 33 – Violino sem cordas ________________________________ 127 Figura 34 – Relógio _________________________________________ 128 Figura 35 – Boi _____________________________________________ 129 Figura 36 – Sobreposição ____________________________________ 131 Figura 37 – Narcy, Clem e a femme fatale _______________________ 145 Figura 38 – Jogo de forças ____________________________________ 151 Figura 39 – Dead of night: paredes da mansão ____________________ 152 Figura 40 – Dead of night: linhas do encosto da cadeira _____________ 152 Figura 41 – Dead of night: sombras das grades da prisão ____________ 153 Figura 42 – Dead of night: sombras das grades do hospital ___________ 153 Figura 43 – Dead of night: sombras das grades do hospital ___________ 154 Figura 44 – Night mail: trilhos _________________________________ 155 Figura 45 – Night mail: fios____________________________________ 155 Figura 46 – Night mail _______________________________________ 156 Figura 47 – We live in two worlds: fronteiras ______________________ 159 Figura 48 – We live in two worlds: linhas de telecomunicações e estradas _________________________________________________________ 160 Figura 49 – Transporte de feixes _______________________________ 161 Figura 50 – Linha telefônica ___________________________________ 161 Figura 51 – We live in two worlds: linhas _________________________ 162 Figura 52 – We live in two worlds: linhas _________________________ 163 Figura 53 – We live in two worlds: linhas _________________________ 163 Figura 54 – We live in two worlds: linhas _________________________ 164 Figura 55 – We live in two worlds: linhas _________________________ 164 Figura 56 – We live in two worlds: linhas _________________________ 165 Figura 57 – Coro na cozinha ___________________________________ 167 Figura 58 – Puntila na mesa de bilhar ___________________________ 169 Figura 59 – As coroas de noivado no lago seco ____________________ 173 Figura 60 – Puntila solitário ___________________________________ 175 Figura 61 – Puntila e Matti no mercado de escravos ________________ 184 Figura 62 – Gravura de Alberto Cavalcanti (1923) __________________ 187 SUMÁRIO 1 INTRODUÇÃO ________________________________________ 13 2 O BONECO ___________________________________________ 19 2.1 O BONECO E O VENTRÍLOQUO _______________________ 19 2.2 A VITÓRIA AUTOMÁTICA_____________________________ 41 2.3 MONTAGEM E MOVIMENTO __________________________ 53 2.4 BONECO E MONTAGEM______________________________ 64 3 PERCEPÇÃO LÍQUIDA __________________________________ 85 3.1 POLARIDADES ______________________________________ 85 3.2 TRAGÉDIA E MONTAGEM ____________________________ 87 3.3 LÍQUIDO E SÓLIDO __________________________________ 93 3.4 DOCUMENTÁRIO E DRAMA _________________________105 3.5 O MAPA E O PALCO ________________________________110 3.6 PARIS MONUMENTAL VERSUS PARIS SUBURBANA _____121 3.7 LÍQUIDO E GASOSO ________________________________132 4 PERCEPÇÃO SÓLIDA __________________________________141 4.1 DO LÍQUIDO AO SÓLIDO ___________________________141 4.2 FRONTEIRA E SOLEIRA ______________________________151 4.3 PUNTILA E MATTI ___________________________________166 5 CONSIDERAÇÕES FINAIS ______________________________187 REFERÊNCIAS __________________________________________193 13 1 INTRODUÇÃO Alberto Cavalcanti é um nome que assombra o cinema há 90 anos. Em torno desse nome, 118 filmes assinados, outros tantos sem os créditos, textos sobre cinema e artes, entrevistas e, principalmente, uma vida que se faz texto – biografia, riquíssima, recheada de eventos, personagens, imagens. Por conta dessa vastidão de textos a orbitarem em torno do nome, é sempre difícil uma aproximação, ou ela é sempre ofensivamente parcial. Há uma recusa em se falar de Cavalcanti ou comumente se atribui ao nome um dos epítetos facilitadores que recebera durante sua vida: modernista, surrealista, cineasta comercial, diretor de confiança dos estúdios, pioneiro do som, documentarista, esteta, responsável pelo fracasso da Vera Cruz, grande nome do cinema brasileiro. Como se aproximar de Alberto Cavalcanti? Como pensar sua poética com filmes tão diferentes entre si? Como se afastar do biografismo? A sedução que exerce uma vida que desde o começo dos anos 20 esteve intimamente ligada ao cinema acaba por conduzir a maioria dos estudos sobre o cineasta e seus filmes. É tentador relacionar a discussão com John Grierson sobre o uso do termo “documentário” com os filmes de montagem declarada e dramatização do real; usar sua aproximação dos estúdios Paramount no início dos anos 30 para afastá-lo da poética surrealista; creditar à sua larga experiência em estúdios bem organizados e com técnicos de várias nacionalidades as decisões que pudessem ter conduzido ao fracasso a Companhia Cinematográfica Vera Cruz. São todas abordagens possíveis e muito plausíveis, parece que se constroem sozinhas, mas são quase sempre simplificadoras e um tanto desabonadoras do nome de Alberto Cavalcanti. É como se houvesse uma necessidade premente de reduzir, de facilitar a abordagem, de delimitar uma zona de segurança ao falar do diretor brasileiro. Esse nome é também um problema para os estudos de cinema. Poucos são os trabalhos dedicados aos seus filmes ou a um período de sua produção. Acaba
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