Amácio Mazzaropi’s Filmography

Sai da Frente—Get Out of the Way São Paulo, 1952 Cast: Amácio Mazzaropi; Ludy Veloso Leila Parisi, Solange Rivera, Luiz Calderaro, Vicente Leporace, Luiz Linhares, Francisco Arisa, Xandó Batista, Bruno Barabani, Danilo de Oliveira, Renato Consorte, Príncipes da Melodia, Chico Sá, José Renato, o cão Duque (Coronel), Liana Duval, Joe Kantor, Milton Ribeiro, Jordano Martinelli, Izabel Santos, Maria Augusta Costa Leite, Carlo Guglielmi, Labiby Madi, Jaime Pernambuco, Gallileu Garcia, José Renato Pécora, Toni Rabatoni, Ayres Campos, Dalmo de Melo Bordezan, José Scatena, Vittorio Gobbis, Carmen Muller, Rosa Parisi, Annie Berrier, Ovídio ad Martins Melo—acrobats

80 minutes/black and white. Written by Abílio Pereira de Almeida and Tom Payne. Directed by Abílio Pereira de Almeida. Produced by Pio Piccinini/Companhia Cinematográfica Vera Cruz. Opening: 06/25/1952, Cine Marabá and 12 movie theaters. Awards: Prêmio Saci (1952) best supporting actress: Ludy Veloso.

Nadando em dinheiro—Swimming in Money São Paulo, 1952 Cast: Amácio Mazzaropi; Ludy Veloso, A. C. Carvalho, Nieta Junqueira, Liana Duval, Carmen Muller, Simone de Moura, Vicente Leporace, Xandó Batista, Francisco Arisa, Jaime Pernambuco, Elísio de Albuquerque, Ayres Campos, Napoleão Sucupira, Domingos Pinho, Nélson Camargo, Bruno Barabani, Jordano Martinelli, o cão Duque (Coronel), Wanda Hamel, Joaquim Mosca, Albino Cordeiro, Labiby Madi, Maria Augusta Costa Leite, Pia Gavassi, Izabel Santos, Carlos Thiré, Annie Berrier, Oscar Rodrigues 152 ● Amácio Mazzaropi’s Filmography de Campos, Edson Borges, Vera Sampaio, Luciano Centofant, Maury F. Viveiros, Antônio Augusto Costa Leite, Francisco Tamura.

90 minutes/ black and white. Written by Abílio Pereira de Almeida. Directed by Abílio Pereira de Almeida. Produced by Pio Piccinini/Companhia Cinematográfica Vera Cruz. Opening: 10/27/1952, in 38 movie theaters in São Paulo and neighboring cities. Fonte: Cinemateca Brasileira.

Candinho—Little Candide São Paulo, 1953 Cast: Amácio Mazzaropi, Marisa Prado, Ruth de Souza, Adoniran Barbosa, Benedito Corsi, Xandó Batista, Domingos Terras, Nieta Junqueira, Labidy Madi, Ayres Campos, Sydnea Rossi, John Herbert, Salvador Daki, Manoel Pinto, Abílio Pereira de Almeida, Pedro Petersen, Luiz Calderaro, Nélson Camargo, Antônio Fragoso, Tito Lívio Baccarin.

95 minutes/ black and white. Written by Abílio Pereira de Almeida (based on Voltaire’s Candide). Directed by Abílio Pereira de Almeira. Produced by Cid Leite da Silva/Companhia Cinematográfica Vera Cruz.

A carrocinha—The Dog Catcher São Paulo, 1955 Cast: Amácio Mazzaropi, Doris Monteiro, Modesto de Souza, Adoniran Barbosa, Gilberto Chacas, João Silva, Aidar Mar, Paulo Saffioti, Kleber Macedo, Nicolau Sala, Salles de Alencar, José Nuzzo, Luiza de Oliveira, Reinaldo Martini, Diná Machado, José Gomes, Nieta Junqueira, Galileu Garcia, Jordano Martinelli.

98 minutes/black and white. Written by Walter George Durst Durst (based on the story “Quase a Guerra de Tróia”). Directed by Agostinho Martins Pereira. Produced by Jaime Prades/P. J. P. Amácio Mazzaropi’s Filmography ● 153

O gato de madame—Madam’s Cat São Paulo, 1956 Cast: Amácio Mazzaropi, Odete Lara, Carlos Cotrim, Lima Netto, Gilberto Chagas, Roberto Duval, Leo de Avelar, Henricão, Osmano Cardoso, José Nuzzo, Inaija Vianna, Jorge Petrov, José Mercaldi, Tito L. Baccarini, Aída Mar, Cavagnole Neto, Raquel Forner, Claudionor Lima, Aristides Manzani, Reinaldo Martini, The cat Joãozinho, Ayres Campos, Beyla Genauer.

90 minutes/ black and white. Written by Abílio Pereira de Almeida. Directed by Agostinho Martins Pereira. Produced by Galileu Garcia/Cinematográfica Brazil Filme Ltda.

Fuzileiro do amor—The Marine of Love Rio de Janeiro, 1956 Cast: Amácio Mazzaropi, Luiz de Barros, Terezinha Amayo, Roberto Duval, Pedro Dias, Gilberto Martinho, Wilson Grey, Ângela Maria, Margot Morel, Daniel Filho, Maria Belmar, Francisco Dantes, Nazareth Mendes, Ingrid Frichtner, Agildo Ribeiro, Alberto Peres, Francisco Colonese, Hélio Ansaldo, Mário Campioli, Moacir Deriquén, Nick Nicola, Pato Preto.

100 minutes/black and white. Written by Victor Lima and Eurides Ramos. Directed by Eurides Ramos. Produced by Osvaldo Massaini/Cinelândia Filmes.

O noivo da girafa—The Giraffe’s Groom São Paulo, 1957 Cast: Amácio Mazzaropi, Glauce Rocha, Roberto Duval, Nieta Junqueira„ Manoel Vieira, Celeneh Costa, Francisco Dantas, Palmerim Silva, Arnaldo Montel, Benito Rodrigues, Joyce de Oliveira, Pachequinho, Armando Nascimento, Yára [sic], Carlos Duval, Walter Moreno, Ferreira Leite, Waldir Maia, a menina Véra [sic] Lucia.

92 minutes/black and white. Written by Victor Lima (based on a story by Araldo Morgantini). Directed by Victor Lima. 154 ● Amácio Mazzaropi’s Filmography

Produced by Oswaldo Massaini/Cinedistri, Cinelândia Filmes. Source: Cinemateca Brasileira.

Chofer de praça—Taxi Driver São Paulo, 1958 Cast: Amácio Mazzaropi, Geny Prado, Ana Maria Nabuco, Carmem Morales, Marta Helena Dias, Roberto Duval, Celso Faria, Marlene Rocha, Cavagnole Neto, Elpidio dos Santos, Joel Cardoso, Joel Mellin, Genésio Cesar, Rubens Assis, Nadir Leite, Dhalia Marcondez, Julieta Faya.

96 minutes/black and white Written by Amácio Mazzaropi Directed by Milton Amaral Produced by Felix Aidar/PAM Filmes Source: Museu Mazzaropi

Chico Fumaça—Smoky Chuck São Paulo, 1958 Cast: Amácio Mazzaropi, Nancy Montez, Carlos Tovar, Wilson Grey, Celeneh Costa, Roberto Duval, Grace Moema, Joyce Oliveira, Arnaldo Montel, Suzi Kirby, Grijó sobrinho, Cazarré Filho, Domingos Terras, Carlos Costa, Amadeo Celestino, Moacir Deriquén.

96 minutes/black and white. Written by Alípio Ramos. Directed by Victor Lima. Produced by Osvaldo Massaini/Cinelândia (RJ) and Cinedistri (SP).

Jeca Tatu—Armadillo Jeca São Paulo, 1959 Cast: Mazzaropi, Geny Prado, Roberto Duval, Nicolau Guzzardi, Nena Viana, Marlene França, Francisco de Souza, Miriam Rony, Marlene Rocha, Pirolito, Marthus Mathias, Hamilton Saraiva, José Soares, Hernani Almeida, Homero Souza Campos, Eliana Wardi, Marilú, Galampito, Augusto Cezar Ribeiro, Argeu Ferrari, Claudio Barbosa, Humberto Barbosa, Newton Jaime S. Amadei. Amácio Mazzaropi’s Filmography ● 155

95 minutes/Black and white. Written by Amácio Mazzaropi after Monteiro Lobato’s story “Jeca Tatuzinho.” Directed by Milton Amaral. Produced by Felix Aidar/PAM Filmes.

As aventuras de Pedro Malazartes—The Adventures of Pedro Malazartes São Paulo, 1960 Cast: Mazzaropi, Geny Prado, Genésio Arruda, Dorinha Duval, Benedito Liendo, Nena Viana, Alvim Fernandes, Kleber Afonso, Nicolau Guzzardi, Noemia Marcondes, Augusto Machado de Campos, Oswaldo de Barros, Lourdes Lambert, Ernani de Almeida, Hermes Câmara, Wilson Rodrigues, Araken de Oliveira, Maury Viveiros, Maria de Lourdes, Marthus Mathias, Bonfiglio Campagnoli, Irene Kranis, Cecília Arantes Freitas, Marry Carlos• Francisco Souza, Hamilton Saraiva, José Soares, Penacho, Ventura Ferreira, Lana Bittencourt, Conjunto Farroupilha, Claudio de Barros. 95 minutes/black and white. Written by Galileu Garcia. Directed by Amácio Mazzaropi. Produced by Amácio Mazzaropi/PAM Filmes.

Zé do Periquito—Parakeet Joe São Paulo, 1960 Cast: Mazzaropi, Geny Prado, Roberto Duval, Nena Viana, Carlos Garcia, Amélia Bittencourt, Augusto César Ribeiro, Maria Helena Dias, Eugênio Kusnet, Ida Barros, Genésio Arruda, Marlene Rocha, Amilton Saraiva, Anita Sorrento, Argeu Ferrari, Ely Nida, Carlão, Irma Rodrigues, Faria Magalhães, Maria Luiza, Hermes Câmara, Jacira Sampaio, José Soares, Monica Waleska, Kleber Afonso, Noemia Marcondes, Marcelo Bitencourt, Olinda Fernandes, Natal Sauba, Sonia Fernandes, Orlando Juliane, Reinaldo Restivo, Agnaldo Rayol, Cely Campello, George Freedman, Hebe Camargo, Paulo Molin, Tony Campello.

100 minutes/black and white. Written by Amácio Mazzaropi. 156 ● Amácio Mazzaropi’s Filmography

Directed by Amácio Mazzaropi. Produced by PAM Filmes.

Tristeza do Jeca—Jeca’s Sadness São Paulo, 1961 Cast: Mazzaropi, Geny Prado, Roberto Duval, Maracy Melo, Nicolau Guzzardi, Anita Sorrento, Eugenio Kusnet, Gilda Monte Alto, Augusto Cesar Vanucci, Eucaris Moraes, Genésio Arruda, Irma Rodrigues, Carlos Garcia, Francisco de Souza, Mario Benvenutti, Edgar Franco, João Batista de Souza, Viana Junior, Durvalino Souza, João Mansur, Augusto César Ribeiro, Selmo Ferreira Diniz, Nilson Sbruzzi, Antonio Tomé, Agnaldo Rayol, Mário Zan, domador: Antônio F. Valêncio Guiomar Brandão.

95 minutes/color. Written by Amácio Mazzaropi. Directed by Amácio Mazzaropi. Produced by Amácio Mazzaropi.

O vendedor de linguiça—The Sausage Salesman São Paulo, 1962 Cast: Mazzaropi, Geny Prado, Roberto Duval, Ilena de Castro, Carlos Garcia, Maximira Figueiredo, David Neto, Maria Helena Rossignolli, Hamilton Fernandes, Anita Sorrento, Augusto Machado de Campos, Olinda Fernandes, Reinaldo Martini, Nena Viana, Francisco Souza, José Soares, Edgar Franco, Antonio Tomé, Pery Ribeiro, Elza Soares, Miltinho.

95 minutes/black and white. Written by Amácio Mazzaropi. Directed by Glauco Mirko Laurelli. Produced by Amácio Mazzaropi/PAM Filmes.

Casinha pequenina—Little House São Paulo, 1963 Cast: Amácio Mazzaropi, Geny Prado, Roberto Duval, Tarcício Meira, Edgard Franco, Guy Loup, Luis Gustavo, Marly Marley, Marina Freire, Astrogildo Filho, Ingrid Tomas, Abilio Marques, João Batista de Souza, Amácio Mazzaropi’s Filmography ● 157

Edgard de Lima, Alcides Oliveira, Durvalino de Souza, Daniel Paulo Nasser, Edson Lopes, Machadinho, Victor Gonçalves.

95 minutes/color. Written by Péricles Moreira and Amácio Mazzaropi. Directed by Glauco Mirko Laurelli. Produced by Amácio Mazzaropi and Edson Lopes/PAM Filmes.

Meu Japão brasileiro—My Brazilian Japan São Paulo, 1964 Cast: Amácio Mazzaropi, Geny Prado, Célia Watanabe, Zilda Cardono, Carlos Garcia, Reynaldo Martini, Adriano Stuart, Elk Alves, Francisco Gomes, Judith Barbosa, Bob Junior, Ivone Hirata, Luiz Tokio, Luzia Yoshigumi, João Batista de Souza, Maria Helena A. Corrêa, Agostinho Ribeiro, Luiz Carlos Antunes, Francisco Bayo, Denise Duval, Armando Raquino, Cley Militello, Durvalino S. de Souza, Cleide Binoto, Rosalvo Caçador, Luiz Rossini, Nelson Pio, Waldemar Salgado, Araif David, Massaqui Watanabe, Antonio Kazuo, Akira Matsuyama, Aristide Marques, Cleusa Maria, Humberto Militello

102 minutes/color. Written by Gentil Rodrigues. Directed by Glauco Mirko Laurelli. Produced by Amácio Mazzaropi/PAM Filmes.

O lamparina—Little Gas Lamp São Paulo, 1964 Cast: Mazzaropi, Geny Prado, Manoel Vieira, Zilda Cardoso, Astrogildo Filho, Anamaria Guimarães, Francisco Souza, Rosemary Wong, Emiliano Queiroz, Carla Diniz, Agostinho Toledo, Ademir Rocha, Carlos Garcia, João Batista de Souza, David Cardoso, Rafael Tena.

Kleber Afonso, Miguel Segatio. 104 minutes. Written by Carlos Garcia. Directed by Glauco Mirko Laurelli. Produced by Amácio Mazzaropi/Pam Filmes. 158 ● Amácio Mazzaropi’s Filmography

O puritano da Rua Augusta—The Puritan of Augusta Street São Paulo, 1965 Cast: Amácio Mazzaropi, Marly Marley, Marina Freire, Elisabeth Hartman, Edgard Franco, Gladys, Julia Kovacs, Darla, Marlene Rocha, Carlos Garcia, Zéluiz Batista Pinho, Claudio Maria, Augusto César Ribeiro, Aristides M. Ferreira, Cleusa Maria Etelvina dos Santos, Humberto Militello, Durvalino Simões, Sonia Maria dos Santos, João Batista de Souza, Celso F. Guizard.

102 minutes. Written by Amácio Mazzaropi. Directed by Amácio Mazzaropi/PAM Filmes.

O corintiano—The Corinthians Fan São Paulo, 1966 Cast: Mazzaropi, Elizabeth Marinho, Lucia Lambertini, Nicolau Guzzardi (Totó), Carlos Garcia, Roberto Pirillo, Leonor Pacheco, Roberto Orosco, Augusto Machado de Campos, Xandó Batista, Francisco Gomes, Olten Ayres de Abreu, Gláucia Maria, Herta Hille, Ziara Freire, João Batista de Souza, Humberto Militello, Rogério Camara, Augusto César Ribeiro, Kapé, Claudio Maria.

98 minutes, black and white. Written by Amácio Mazzaropi. Directed by Milton Amaral. Produced by Carlos Garcia/PAM Filmes.

O Jeca e a freira—Jeca and the Nun São Paulo, 1967 Cast: Mazzaropi, Geny Prado, Maurício do Valle, Elizabeth Hartman, Nello Pinheiro, Paulette Bonelli, Carlos Garcia, Izaura Bruno, Claudio R. Mechi, Denise Barreto, Ewerton de Castro, Elizabeth Marinho, Henricão, Mafalda Moura, João Batista de Souza, Maritza Luizi, Roberto Pirillo, Telcy Perez, Tony Cardi, Wilson Luisi, Sheila Greto.

102 minutes, color. Written by Amácio Mazzaropi. Directed by Amácio Mazzaropi. Produced by PAM Filmes. Amácio Mazzaropi’s Filmography ● 159

No paraíso das solteironas—In the Spinsters’ Paradise Taubaté, 1968 Cast: Mazzaropi, Geny Prado, Átila Iório, Iracema Beloube, Carlos Garcia, Wanda Marchetti, Renato Master, Elizabeth Hartman, Claudio Roberto Mechi, Adélia Iório, Domingos Terras, Elizabeth Barbosa, Yves Hublet, Gina Rinaldi, Tony Cardi, Judith Barbosa, Zequinha, Nena Viana, Quinzinho, Yaratan Lauletta, Pascoal Guida, Ademir Monezzi, Nilo Márcio, Cícero Liendo, Linda Fernandes, Elza Cleonice.

95 minutes/color. Written by Orlando Padovan. Directed by Amácio Mazzaropi. Produced by Amácio Mazzaropi/PAM Filmes.

Uma pistola para Djeca—A Pistol for Djeca São Paulo, 1969 Cast: Amácio Mazzaropi, Patrícia Mayo, Rogério Câmar, Wanda Marchetti, Paulo Bonelli, Yaratan Lauletta, Nello Pinheiro, Elizabeth Hartman, Rildo Gonçalves, Zaíra Cavalcanti, Carlos Garcia, Linda Fernandes, Antenor Pimenta, Nena Fernandes,

90 minutes. Written by Amácio Mazzaropi. Directed by Ary Fernandes. Produced by Amácio Mazzaropi and Carlos Garcia/PAM Filmes.

Betão Ronca Ferro—Big Iron Bob São Paulo, 1970 Cast: Mazzaropi, Geny Prado, Roberto Pirilo, Dina Lisboa, Araken Saldanha, Dilma Lóes, Cláudio R. Mecchi, Yaratan Lauleta, Tony Vieira, Gilmara Sanches, Henricão, Ester Fonseca. Milton Pereira, Judith Barbosa, Reginaldo Peres, Kleber Afonso, Roberto Câmara, Linda Fernandes, Rogério Câmara, Carlos Garcia

100 minutes/color. Written by Amácio Mazzaropi. Directed by Geraldo Afonso Miranda. Produced by Amácio Mazzaropi/PAM Filmes. 160 ● Amácio Mazzaropi’s Filmography

O grande xerife—The Great Sheriff São Paulo, 1972 Cast: Amácio Mazzaropi, Patricia Mayo, Paulo Bonelli, Tony Cardi, Paulette Bonelli, Araken Saldanha, Augusto César Ribeiro, Cláudio Roberto Mecchi, Jandira Camara, Gentil Rodrigues, Ester de Oliveira, Carlos Garcia, João Batista de Souza, Cavagnole Neto, Judith Barbosa, Rogerio Camara, Nena Viana, José Velloni, Linda Fernandes, Wanda Marchetti, José Matheus, Argeu Ferrari, Grupo Folclórico Esticadinhos de Cantanhede

95 minutes, color. Written by Marcos Rey and Amácio Mazzaropi. Directed by Pio Zamuner. Produced by Amácio Mazzaropi/PAM Filmes.

Um caipira em Bariloche—A Bumpkin in Bariloche São Paulo, 1973 Cast: Mazzaropi, Beatriz Bonnet, Ivan Mesquita, Carlos Valone, Edgar Franco, Geny Prado, Maria Luiza Robledo, Analu Gracie, Fausto Rocha Jr, Judith Barbosa, Claudio Roberto Mecchi, Maria Quitéria, Carlos Garcia, Edgar Araújo, Elizabeth Barbosa, Nhô Tide, Suzy Dalle, Paulo Villa, Cavagnole Neto, Antônio Fernandes, Argeu Pereira, Iragildo Mariano, Vic- tor Gonçalves e as suas mulatas, Cláudia Serine, Alda Faria, Maria JoséPaulo Sérgio, Elza Soares

100 minutes. Written by Amácio Mazzaropi. Directed by Pio Zamuner and Amácio Mazzaropi. Produced by Amácio Mazzaropi.

Portugal ...Minha saudade—Portugal ...IMissYou São Paulo, 1973 Cast: Mazzaropi, Gilda Valença, David Neto, Pepita Rodrigues, Fausto Rocha Jr., Elizabeth Hartman, Dina Lisboa, Ana Luiza Lancaster, Adelaide João, Júlio Cesar, Marília Gama, Ângela Maria

100 minutes. Written by Amácio Mazzaropi. Amácio Mazzaropi’s Filmography ● 161

Directed by Amácio Mazzaropi. Produced by PAM Filmes.

Jeca contra o capeta—Jeca Against the Devil São Paulo, 1975 Cast: Mazzaropi, Geny Prado, Roberto Pirilo, Néa Simões, Fausto Rocha Jr., Rose Garcia, Jair Talarico, Leonor Navarro, Jorge Pires, Aparecida de Castro, José Mauro Ferreira, José Velloni, Carlos Garcia, Cavagnole Neto, Macedo Netto, Rui Elias, Luiz Carlos de Oliveira, Almerinda dos Santos, Peter Pan, Élcio Rosa, Agner, Wander.

95 minutes/color. Written by Amácio Mazzaropi. Directed by Pio Zamuner and Amácio Mazzaropi. Produced by Amácio Mazzaropi/PAM Filmes.

O Jeca macumbeiro—Macumba Jeca São Paulo, 1974 Cast: Amácio Mazzaropi, Gilda Valena, Jofre Soares, Selma Egrei, Ivan Lima, José Mauro Ferreira, Maria do Rocio, Aparecida de Castro, Felipe Levy, Broto Cubano, Araken Saldanha, Jair Talarico, Pirolito, José Velloni, Miltinho, Messias—Netinho.

87 minutes. Written by Amácio Mazzaropi. Directed by Pio Zamuner and Amácio Mazzaropi. Produced by Amácio Mazzaropi/PAM Filmes.

Jecão ...Um fofoqueiro no céu—Big Jeca ...A Gossip in Heaven São Paulo, 1977 Cast: Amácio Mazzaropi, Geny Prado, Paulo Greven, Dante Ruy, Gilda Valença, Denise Delvechi, Edgard Franco, Elizabeth Hartman, João Paulo, Leonor Navarro, Rose Garcia, Armando Paschoalim, Augusto César Ribeiro, André Luiz Toledo, José Velloni.

105 minutes/color. Written by Amácio Mazzaropi. 162 ● Amácio Mazzaropi’s Filmography

Directed by Pio Zamuner and Amácio Mazzaropi. Produced by Amácio Mazzaropi/PAM Filmes.

Jeca e seu filho preto—Jeca and His Black Son São Paulo, 1978 Cast: Amácio Mazzaropi, Geny Prado, Yara Lins, Carmen Monegal, David Neto, Elizabeth Hartman„ Joanes Dandaró, Leonor Navarro, Denise Assunção, Henricão, Everaldo Bispo de Souza (Lobão), James Lins, Rose Garcia, Jair Talarico, José Velloni, Gilda Valença, Valter Mendonça Cris, Augusto César Ribeiro, João Paulo, José Luiz de Lima, André Luiz Toledo.

104 minutes/color. Written by amácio Mazzaropi. Directed by Pio Zamuner and Berilo Faccio. Produced by Amácio Mazzaropi/PAM Filmes.

A banda das velhas virgens—The Band of the Old Virgins São Paulo, 1979 Cast: Amácio Mazzaropi, Geny Prado, Renato Restier, André Luiz Toledo, Cristina Neves, Marcos Weinberg, Heloísa Raso, Gilda Valença, Denise Assunção, Aparecida Baxter, Paulo Pinheiro, Will Damas, Felipe Levy, José Velloni, Guiomar Pimenta, Carlos Garcia, Leonardo Camilo, Antonio Rod, Augusto César Gevara, Douglas Tadeu.

100 minutes/color. Written by Amácio Mazzaropi. Directed by Pio Zamuner and Amácio Mazzaropi. Produced by Amácio Mazzaropi/PAM Filmes.

O Jeca e a égua milagrosa—Jeca and the Miraculous Mare São Paulo, 1980 Cast: Amácio Mazzaropi, Geny Prado, Turíbio Ruiz, Gilda Valença, Marcia Deffonso, Augusto César Ribeiro, Roberval de Paula, Paulo Pinheiro, Francisco Tadeu Alves, André Luiz de Toledo, Wilson Damas, José Velloni, Guiomar Pimenta, José Minelli Filho, Júlio Cesar Amácio Mazzaropi’s Filmography ● 163

102 minutes, color. Written by Amácio Mazzaropi. Directed by Pio Zamuner and Amácio Mazzaropi. Produced by Amácio Mazzaropi/PAM Filmes. Appendix

Table A.1 Audience for Mazzaropi’s films from 1970 to 1980

Title Director Producer Opening Audience

Betão Ronca Ferro Geraldo Miranda PAM Filmes Jan. 1971 2,568,475 Ograndexerife Pio Zamuner PAM Filmes Jan. 1972 2,693,271 Um caipira em Bariloche Pio Zamuner and Mazzaropi PAM Filmes Jan. 1973 2,720,345 Portugal ...minha Amácio Mazzaropi PAM Filmes Jan. 1974 2,325,650 saudade Jeca macumbeiro Pio Zamuner and Mazzaropi PAM Filmes Feb. 1975 3,468,728 Jeca contra o capeta Pio Zamuner and Mazzaropi PAM Filmes Feb. 1976 3,428,860 Jecão, um fofoqueiro no céu Pio Zamuner and Mazzaropi PAM Filmes Jun. 1977 3,306,926 Jeca e seu filho preto Pio Zamuner and Berilo PAM Filmes Apr. 1978 2,872,881 Faccio A banda das velhas virgens Pio Zamuner and Mazzaropi PAM Filmes Jul. 1979 2,345,553 OJecaeaéguamilagrosa Pio Zamuner and Mazzaropi PAM Filmes Sept. 1980 1,564,196

Source: ANCINE. Notes

Preface 1. For more information about Programadora Brasil’s function and activities in Milho Verde, see http://www.institutomilhoverde.org.br. 2. Randal Johnson and Robert Stam, Brazilian cinema, 161. 3. “Terra em transe em debates no Rio.” Almanaque, Folha de São Paulo, May 19th, 1967. 4. After Mazzaropi’s death, the Folha de São Paulo had an article about him and his career. In this article, the author describes a Mazzaropi premiére at the Cine Art Palácio movie theater: “De fato, havia um toque mais Caipira, mais tupiniquim que roliudiano nas estréias ...A periferia vinha inteira para o Largo do Paissandu ...[Mazzaropi] subia no palco, apresentava o elenco e técnicos que trabal- havam no filme e dava um pequeno show, contanto velhas paidas, cantando velhas canções” (Actually, there was a more Caipira,moretupiniquim than Hollywoodian touch in his openings ...everybody from] [the towns and communities near São Paulo] came to the Paissandu Park ...[Mazzaropi] went on stage, presented the cast and the technicians who worked in the film and [then] presented a little show, telling old jokes and singing old songs (“O cinema nacional perde seu Jeca”). 5. For a brief presentation of the history and impact of the Vera Cruz Cin- ema Company, see “Cinema industrial” in http://paulo-v.sites.uol.com.br/cinema/ cinemaindustrial.htm. 6. See Mazzaropi’s interview to Fatos e Fotos on December 25, 1978, in which he explains that the Itamarati (Brazilian Ministry of International Affairs) wanted to send his Meu Japão brasileiro to Tokyo, but he did not accept because the Itamarati did not guarantee the exhibition of the film in that country.

Introduction 1. One cannot fail to notice that even in this quoted text—the only critical dis- cussion in which Mazzaropi’s work is mentioned in any significant way—Catani emphasizes the agency of the two directors, Tom Payne and Abílio Pereira de Almeida: they saw the comedian; they decided to invite him to work. This account suggests that Mazzaropi was totally passive in the process that landed 168 ● Notes

him in the most important cinema company of the time. The point of view cho- sen is clearly the one dictated by the ideological instance from which the author writes: Mazzaropi—or his “Caipira,” by extension—is the one who receives the result of action initiated by somebody else. 2. The 1967 films El justicero (The Avenger), directed by Nelson Pereira dos Santos, and Todas as mulheres do mundo (All the Women of the World), directed by Domingos de Oliveira, as well as the 1969 film Macunaíma, directed by Joaquim Pedro de Andrade, and the 1970 film Azyllo muito louco (A Very Crazy Refuge), directed by Nelson Pereira dos Santos, are a few examples of humor in Cinema Novo films. 3. Written, produced, and directed by Vladimir Carvalho, Conterrâneos velhos de Guerra documents the struggle of the people who came to Brasília during its construction. 4. The film Orfeu negro (Black Orpheus), which won the Grand Prize in the Cannes Film Festival in 1959, is an interesting case of a “Brazilian” film that appeals to and is known by foreigners. However, it is almost totally unknown in Brazil. The story, a poetic remake of the myth of Orpheus and Eurydice that takes place dur- ing a carnival in Rio de Janeiro, was originally a musical play written by Brazilian poet Marcus Vinícius de Moraes, and it was published in 1956 under the title Orfeu da Conceição. The film has a hauntingly evocative music score by Antonio Carlos Jobin and Luís Bonfá. The dialogue and the acting, however, cannot pass a close inspection: they are stilted and wooden for ears of any native Portuguese speaker. Both the producer, Sacha Grodine, and the director, Marcel Camus, are not Brazilian. The beautiful co-protagonist, Marpessa Dawn, was an American- born actress who lived in France. It is clear in the film that she did not speak any Portuguese, and must have learned her dialogues with the help of a language instructor. 5. Three of the main actors of Bye Bye Brazil—José Wilker, Betty Faria, and Fábio Júnior—were well known to the Brazilian public through their work in the nove- las of TV Globo, and this certainly helped the success of the film. The ANCINE site informs that 1,488,812 people saw this film. Bruno Barreto’s Dona Flor e seus dois maridos (1976) obtained an even greater success, with more than 10 million viewers. The film is an adaptation of Jorge Amado’s 1966 novel with the same name. The protagonists are two of the most well known Brazilian TV stars of the time: Sonia Braga as Dona Flor and José Wilker as the first husband. The film can also be placed in the soft porn category. See the statistics at www.ancine. gov.br. 6. In an article in the Jornal do Brasil in 1961, Glauber Rocha reflected on this phenomenon and said, “Vamos fazer nossos filmes de qualquer jeito (...)com uma idéia na cabeça e uma câmera na mão para pegar o gesto verdadeiro do povo” (We are going to do our films no matter what (...) with an idea in our heads, and a camera in our hands to capture the real people’s gesture) “Arraial, Cinema Novo e câmera na mão.” Certainly, Rocha had no interest in the commercial side of the enterprise. Notes ● 169

7. See Randal Johnson’s The Film Industry in Brazil, 168. Of particular interest here is Table 22, “Film Spectators in Brazil, 1971–1978,” which shows that foreign films attracted at least twice as many spectators as the Brazilian films during this period. Also of interest is Table 25 (169), which shows that, in 1980, Brazilian films attracted only 30.8 percent of the market. 8. On this point, it is interesting to observe how, even among the Cinema Novo people, there was some concern about the fact that they were talking at people instead of talking to people. See, for instance, Jean-Claude Bernadet’s Brasil em tempo de cinema (Brazil in Cinema Time), in which he says that, even though Cin- ema Novo intended to represent the “people,” it ended up just presenting “uma classe média à cata de raízes e que quer representar na tela o seu marginalismo” (a middle class in search of [its] roots ... trying to represent its marginality in the screen) (38). Carlos Estevam Martins, in “Artigo sobre aristocratas” (Article about Aristocrats), takes his criticism of the Cinema Novo artists beyond this point. Referring to the isolation some of these artists said they felt, Martins writes that these filmmakers “estão querendo criar uma nova linguagem, [e] por isso mesmo o que conseguem é ficar falando sozinhos” (are trying to create a new language, [and] what they actually do is to speak [only] to themselves) (158). 9. Vieira and Stam define chanchada as “a derogatory epithet created by hostile mainstream critics.” The genre, intimately linked to the world of carnival, refers “to a body of films (made between the early 1930s and continuing in modi- fied form up to the present) featuring predominantly comic plots interspersed with musical numbers” (Vieira and Stam 25). The matter of how Brazil has appropriated foreign styles and foreign methods into its own cultural and ideo- logical vocabulary is superbly discussed by Roberto Schwarz in “As idéias fora do lugar” (“Misplaced Ideas”) and by Antonio Cândido especially in “Literatura e subdesenvolvimento” (“Literature and Underdevelopment”). 10. Compare the example of Mexico, where North American film was also appropri- ated for specific Mexican needs. Just as in this period Brazilian films featured the chanchada and melodrama (and Argentinean films developed the tango melodrama genre in the 1930s), the Mexican films of the period between 1930 and 1950 also relied heavily on melodrama. As Ana M. López correctly observes, “this was the first indigenous cinema to dent the Hollywood industry’s perva- sive presence in Latin America; the first consistently to circulate Latin American images, voices, songs, and history; the first to capture and sustain the interest of multi-national audiences throughout the continent for several decades” (29–30). The exportation of cinema and film technology has been, since its inception, appropriated as a means of disciplining—or coercing—the budding Third World movie industry. López points out that whereas the Office of the Coordinator of Inter-American Affairs (a branch of the State Department) encouraged the development of Mexican cinema, with loans and unlimited access to raw film stock, it mounted a campaign against Argentina because the country kept stub- bornly neutral during World War II. Among other coercive measures, the State Department restricted Argentinean access to the most fundamental material for 170 ● Notes

movie-making: raw film stock (López 48). It is interesting to observe that, since Brazil did not pose any special threat or interest to the United States during the period of World War II, neither restrictive nor protective measures were taken in relation to the Brazilian cinema. 11. Another example is the “Cinema Marginal,” which occurred in Brazil between 1969 and 1973. For an excellent study of the movement, see Fernão Ramos’s Cinema Marginal. 12. “Tombamento” is a public administrative act that aims at preserving histori- cal, cultural, architectural, ecological, and affective assets, thus preventing their destruction or defacing change. See “O que é tombamento?” http://www.cultura. al.gov.br/ (accessed October 31, 2011). 13. This type of plot involving the missing mother is typical of many other devel- oping cinemas. As Ana M. López reminds us, the mother is also an obsessive presence in Mexican cinema, and she represents various identity anxieties pecu- liar to the Mexican history as a country founded on the rape of the mother (López 32–34). For more on the image of the mother in Mexican culture, see also Jean Franco. 14. Being a “Turk” is a joke in itself. In small towns of Brazil, anybody who speaks with a different accent and is not either German (any blue-eyed person) or Japanese (an epithet for any Asian-looking person) is called a “Turk.” More than indicating that these foreigners came from Turkey, the adjective merely points at some indistinguishable non-Brazilianness. It can be extremely confusing for for- eigners to understand this system, because under the adjective “Turk,” Brazilians lump Arabs, Jews, or just about any foreigner who has dark hair and/or deals with commerce. For the Brazilians outside the major urban centers, the imagination of “foreign” is—in the time Candinho was made, if not nowadays—arguably as sketchy as the imagination of what the majority of Brazilians are. For an interest- ing discussion about the ways the Caipiras see foreigners, see Antonio Cândido’s Os parceiros do Rio Bonito, especially 84–87. 15. Interestingly, in the beginning of the story, when the parents arrive in São Paulo from the countryside, their dog comes out of the bus carrying a little suitcase. When the suitcase falls on the ground, the camera focuses on its contents and reveals they consist of bones. This scene might seem a funny moment showing that the dog also had his own luggage, but it may also be read as a symbol that the bones—the past, the rural—always come in the luggage of every farmer who moves to the city. 16. The word “Jeca” is a nickname for “José,” and “Tatu” means “armadillo.” It is interesting to point out that the animal “tatu,” when confronted with danger, rolls inside its shell, forms a ball, and stays there as long as necessary, like an armadillo. The name “Jeca Tatu,” then, implies that the character, instead of facing the new, just recoils inside himself and refuses to adjust. 17. Antonio Querino Neto, “Mazzaropi,” 56. This article argues that Mazzaropi bought the right to use this character from the Medicamentos Fontoura, for which Monteiro Lobato had developed his Jeca Tatuzinho in l9l9. The credits of Jeca Notes ● 171

Ta t u mention that the film is based on Monteiro Lobato’s story, but nothing is said about the purchase of the rights to use it. 18. The word “Caipira” sounds like the Tupi word “caipora,” from which it most likely derives. “Caipora,” or “Curupira,” is the name of a devil/trickster whose feet are turned to the back of the body. In the Brazilian Indian mythology, the caipora tricks his victims into believing that he is going when he is coming, so that he can catch them by surprise and defeat them. “Caipira” has become the favorite epithet applied to those people who are shy, live in the interior of the country, and are not accustomed to the social ways of the city. Another word used interchangeably with “Caipira” is “jacu,” also of Tupi origin (Dicionário Etimológico Nova Fronteira da Língua Portuguesa). In the language of Brazil, jacu is also the name of a very shy bird, common in most forests. 19. For an extensive discussion about the origin and the location of the Caipira cul- ture, see Cândido’s Os parceiros do Rio Bonito, especially 57–66. As he explains in the “Introdução,” this book is the result of his research done from 1947 to 1954. The text was presented in 1954 as his doctoral dissertation in Social Sci- ences at the Faculdade de Filosofia, Ciências e Letras of the University of São Paulo. It was published as a book in 1964. Although Cândido does not mention Mazzaropi in Os parceiros do Rio Bonito, it is interesting to note that in the years the scholar was doing his research and collecting data, the artist was also develop- ing the prototype that later became his character Jeca Tatu. It is also important to stress that the people Cândido describes are stable and have not left their place of origin, whereas the Caipiras shown in Mazzaropi’s films are a result of a diaspora toward the big urban centers. Another interesting document about the “Caipira” culture is Cornélio Pires’s Conversas ao Pé do Fogo (Conversations by the Fire),from which Cândido quotes profusely in Os parceiros do Rio Bonito. 20. Mazzaropi’s moustache has led to his comparison to another Latin American cinema artist, the Mexican Cantinflas, and his way of walking has been consid- ered a variation of the Chaplinesque gait. In fact, Mazzaropi himself, in a 1978 interview, comments that in the beginning of his career, when he still worked with the Vera Cruz, the critics compared him to Chaplin (“Gente,” Fatos e Fotos December 25, 1978). 21. The noun cangaceiros refers to bandits from the northeast of Brazil. Their most famous leader was Virgulino Lampião, whose gang terrorized the backlands of the northeast—osertão—for years during the 1920s and 1930s. Cangaceiros wore dis- tinctive leather outfits and acquired a reputation of distributors of social justice, since they purported to rob the rich and distribute the loot among the poor. 22. On this point, Randal Johnson has a very illuminating discussion of the problems of the Cinema Novo directors in relation to their role vis-a-vis pop- ular culture, their own relationship with the Brazilian people, and the results of these negotiations. See the Conclusion to Cinema Novo X 5, especially 223–224. 23. “Cannibalism,” or “Antropofagia,” is the name of a literary movement that had its origin in São Paulo in the 1920s. The members of the group heading the 172 ● Notes

movement were mostly part of the “aristocracia do café” (coffee aristocracy). The “Movimento antropofágico” called for the recognition of the cannibalization of the foreign in Brazilian culture. For more details on the subject, see Wilson Martins and K. David Jackson (1978). 24. Macunaíma, by Brazilian modernist writer Mário de Andrade, was first published in 1928. It is considered one of the masterpieces of the Latin American literature of the twentieth century. The novel was made into a film by Joaquim Pedro de Andrade in 1969, and obtained not just critical approval (best actor and best screenplay awards by the INC [National Cinema Institute] for that year) but also an enormous box office success. 25. I obtained this data from informal research done in several video stores in the cities of Maringá and Londrina, in the interior of the State of Paraná; Campinas, in the State of São Paulo; Recife, in the State of Pernambuco; Natal, in the State of Rio Grande do Norte; and Fortaleza, in the State of Ceará.

Chapter 1 1. The Vera Cruz company was established in São Paulo in 1949 as an attempt to give Brazilian cinema a more “European” quality. The aims of Vera Cruz differed substantially from those sought by the other important company, the Atlântida Studios, which had been founded in Rio de Janeiro six years before. Unlike Vera Cruz, Atlântida started in the early 1930s with the development of the chanchadas, comic films in which there were many songs and dances. The chanchadas were for some time considered bad taste, lowly cinema, but they enabled Atlântida to stay alive for a long time. Vera Cruz’s history was short; even though it strived to make respectable films, by 1954 it went bankrupt; its studios and equipment were taken by the Banco do Estado de São Paulo and later rented out to other people interested in making films (Ramos, História do Cinema Brasileiro 225). 2. Brasil Filmes was created by Abílio Pereira de Almeida during his time as diretor superintendente (general manager) of the ailing Vera Cruz. 3. Afrânio Mendes Catani writes that Abílio Pereira de Almeida’s faith in the suc- cess of Sai da frente was so great that, even before its release, he convinced “everybody”—todos—that the film would be a great success. Sai da frente was initially released only in 12 movie theaters on June 15, 1952. This was a com- parably small number for the time. Since the popular success of the film proved that Pereira and Almeida were right, Vera Cruz arranged for it to be shown at the Ritz São João movie theater for an extra week, and sent it to movie theaters in Rio de Janeiro (see Catani 215–16, 218). 4. Nadando em dinheiro was released on October 27, 1952, in 36 cinemas of São Paulo and neighboring cities, and in November of the same year, it was shown in Rio de Janeiro in 26 cinemas. Catani writes that it was “the first time in the history of Brazilian cinema that a film [was] released simultaneously to such an extensive cinema network” (218). Notes ● 173

5. The screenplay for Acarrocinhawas written by Walter George Durst, Agostinho Martins Pereira, Galileu Garcie, and Jacques Deheinzelin; Walter George Durst wrote the dialogues, and Agostinho Martins Pereira directed the film. These men were part of the group chosen by Abílio Pereira de Almeida during his time as general manager of Brasil Filmes. 6. The screenplay and the dialogues for O fuzileiro do amor were written by Eurides Ramos and Victor Lima; the director was Eurides Ramos. It was the first film Mazzaropi made with Cinedistri. 7. This name is a reference to sexuality, because “pinto” in colloquial Portuguese means the young chick and also “penis,” while in “Arlindo” there is the adjective lindo (“beautiful”). The same suggestion can be seen in the name “Jacinto,” which has the same sound of the expression já sinto (“I already feel [it]”). 8. Onoivodagirafawas written by Victor Lima, directed by Victor Lima and Oscar Nelson, and produced by Oswaldo Massaini. 9. Victor Lima directed the film and wrote the dialogues; Alípio Ramos wrote the screenplay, and Oswaldo Massaini produced the film. 10. The story “O Espelho” (The Mirror) was first published in the periodical Gazeta de notícias in 1882, and later that same year it appeared also in the book Papéis avulsos. This and other of Machado de Assis’s novels and stories are avail- able free online on the Domínio Público website, sponsored by the Brazilian government.

Chapter 2 1. For a very good discussion of the “blackface” figure, see Susan Willis, espe- cially 124–30. For the purposes of my discussion here, it is extremely relevant to observe that the master of ceremonies in Fuzileirodoamoris not the only black actor to participate in a scene that denigrates blacks. As Willis writes about the Minstrel tradition in the United States, “If the shows [in which black actors participated] promoted the debasement of blacks, can black participation in them be explained by their immense popularity, or the opportunity the shows provided to blacks in entertainment, or the money a performer might make?” (124). 2. For an authoritative study of Nina Rodrigues’s work, see Lamartine Andrade de Lima, Roteiro de Nina Rodrigues. 3. It is important to keep in mind that, in 1872, 16 years before Princess Isabel signed the Lei Aurea, the Brazilian population was composed of “40% of free Blacks and only 15% of slaves” (Rodrigues 30). 4. Lúcio Kowarick has a wrenching account of this moment in Brazilian history when black Brazilians, evicted from the only life they knew, thrown on the roads with nothing but their clothes on, had no legal recourse or aid from the govern- ment or any institution. See Lúcio Kowarick, Trabalho e vadiagem: a origem do trabalho livre no Brasil. See also Fernandes, Florestan. 5. For a discussion on how Brazilian blacks are defined, and what their economic situation is in present-day Brazil, see João Carlos Rodrigues, especially 11–13. 174 ● Notes

6. Macunaíma is the eponymous protagonist of Mário de Andrade’s Macunaíma, considered one of the most important Brazilian novels of the century. In 1969, Joaquim Pedro de Andrade directed the filmic version of the novel. Grande Otelo, the renowned Brazilian black actor, played Macunaíma until he becomes white. From this point on, Macunaíma is played by Paulo José. The film was successful, especially among the educated audience who were more likely to have read the book, or who could understand the veiled references to the military dictatorship going on at the time. The fact that Grande Otelo (comedian) and Paulo José (TV star) were widely known must also have helped attract a wide audience. 7. Persons of Japanese origin, as well as from other Asian countries, are called “Japanese” in Brazil. This does not mean they are really from Japan, and there are many “Japanese” in Brazil who have never stepped foot in the country of their ancestors. Heretofore, the adjective will appear without quotation marks. 8. It is not clear if such dances are indeed part of traditional Japanese wedding ceremonies. However, in the context of appropriation of the foreign into the Brazilian culture, the dances fit very well and also function both as a showcase for some folkloric Japanese Brazilian dances and as a way to attract this community to see the film. 9. The interest in calling attention to the languages spoken in Brazil is not new. Even Macunaíma, “the hero without any character,” has his linguistic adventures when he leaves the forest and goes to São Paulo. After fighting with the giant, he spends his time “perfecting his knowledge of the two local languages, the written and the spoken Portuguese” (65). In fact, he has perfected his knowledge so well that he can write a letter to his subjects, the Icamiabas, using an archaic style to show off his newly acquired linguistic sophistication (Andrade 56–64). 10. At this point, one recalls Michel Foucault’s oft-cited observation that discourse is “not simply that which manifests (or hides) desire—it is also the object of desire.” By not allowing his wife to speak, as well as by speaking in place of the Japanese, Fufuca can be seen as yet another form of control over them. See Michel Foucault, “The Order of Discourse” 110. 11. Carioca is the adjective used for people born in the city of Rio de Janeiro. The name derives from the tribe of the Cariocas who lived in the region when the first Portuguese arrived. 12. Candieiro means hand-held lamp. It is a reference to a historical figure easily rec- ognizable by any Brazilian, the famous Lampião—Gas Lamp—the greatest of all cangaceiros who roamed the backlands of the northeastern regions of Brazil in the first decades of this century. Lampião was eventually captured and killed, and both his head and the head of his companion, Maria Bonita, were embalmed and publicly shown until the mid-1970s, when they were finally buried. But if the word candieiro recalls the mythological Lampião, it also immediately calls attention to the diminished power of the character; a lampião is a big lamp, usu- ally with a glass cover that enables it to be taken to several places, even outside, whereas a candieiro is an oil-fed lamp that can be easily extinguished if exposed to the wind. Notes ● 175

13. The quilombos were communities formed by runaway slaves. Their existence began as early as the seventeenth century, and Palmares, the most populous of all, once counted 20,000 people. For more information on this subject, see E. Bradford Burns’s A History of Brazil, Edison Carneiro’s O quilombo dos Palmares, and Sérgio D. T. Macedo’s Crônica do negro no Brasil. 14. The name “Bomba” can have two possible meanings in this context. It can be either a play on the word “pomba,” one of the epithets of female genitalia, or the noun “bomb,” meaning that the wife is a problem in Zé’s life. 15. The presence of this horse-drawn buggy, as well as of some of the farm practices depicted in the movie, adds an eerily anachronistic mode to the story. Laura’s and Antenor’s clothes, for instance, belong to the fashion of the 1970s. The language they use also places them in the 1970s. It seems that the buggy appears in the story to reinforce a feeling that Antenor, as well as the story of his birth, will be placed in another time or, at least, within the optic of a different time, when blacks could “drive” a cart only in the position of servants, or slaves. To have him drive a car would break this illusion, because in the year the film was made, cars were coded as a symbol of the middle class. 16. In this chaste love affair, the only way the audience knows that the two of them are in love is because they say so. It is not clear if it is the lack of chemistry between the actors, or if it is because of Mazzaropi’s tradition in his films, but Antenor and Laura do not even kiss on-screen. 17. Cheiroso in Portuguese can mean “smelly” or “perfumed.” The adjective can have a vaguely sexual connotation. 18. Fernão Ramos writes that Macunaíma is “very close to the tropicalist move- ment, not only because it was based on an original of Mário de Andrade, but also because of the repeated juxtaposition between the archaic and the modern. Taking the original plot of the [novel], Joaquim Pedro introduces aspects of a ‘modern’ Brazil of 1968, thus exploiting its most bizarre and tacky aspects” (379). Indeed, in Jeca e seu filho preto, these juxtapositions between the old (the horse- drawn buggy, Cheiroso’s thugs riding horses) and the new (the 1970s vocabulary and dress, Zé’s reminiscences of a TV show) are perhaps meant to accentuate a feeling of the incongruence of the whole situation.

Chapter 3 1. Dias Gomes (Alfredo de Freitas Dias Gomes) wrote the play O pagador de promes- sas in 1959. The film was directed by Anselmo Duarte, and was nominated for the Oscar in 1963, after winning several prizes, including Palme D’Or in the Cannes Film Festival in 1962. 2. Deus é brasileiro, directed by Cacá Diegues, is based on João Ubaldo Ribeiro’s short story “O santo que não acreditava em Deus.” Ribeiro and Diegues co-wrote the script for the film. 3. Eduardo Basto de Albuquerque points out that the temple appearing in Meu Japão brasileiro “is a Buddhist temple of Amidist orientation. We can notice that 176 ● Notes

the bonzo wears ceremonial clothes and tie which indicate that he was an immi- grant who became a Buddhist missionary. The movie does not hide the exotic” (74). See Eduardo Basto Albuquerque, “Intellectuals and Japanese Buddhism in Brazil.” 4. Phil Enns discusses this aspect of Habermas’s writing and points out that the question is “how religious traditions can participate in the public space without violating the criterion of equality” (584). As Enns writes, there is both the matter of religious groups lobbying the government and the unfairness of asking people to reveal their religious preference and to then “artificially divide their lives into private and public spheres” (584). See Phil Enns, “Habermas, Democracy and Religious Reasons.” 5. Rampinelli remarks on what he calls the “subservient” declarations made by members of Brazil’s diplomats in relation to colonialist Portugal (85). He also notes how president Juscelino Kubitschek (1902–1976) himself went to Portugal to visit the religious shrine in Fátima, and after that met with António de Oliveira Salazar (1889–1970), the dictator who ruled Portugal for four decades (95). 6. Padre Cícero is called “padrinho”—“godfather”—by millions of people in the northeast. A kind of hybrid saint and politician, Cícero has been the theme of hundreds of books and figures in many forms of popular culture throughout Brazil. 7. This sentence is attributed to Padre Antônio Vieira, condemning those priests who spent their lives serving the rich and never doing their job of serving the religious needs of their flock. 8. In a book published in 1966, Jesus of the Spirits, Pedro McGregor notes, with clear dissatisfaction, that even Jorge Amado, “internationally famous author of Gabriela, Clove and Cinnamon,” is a “son-of-Oxossi—i.e, his Orisha, the one designated as his protector and guide, is Oxossi. In other words, Amado, writer, sophisticate man of letters, is quite openly a worshipper of the cult called Candomblé, a development of the religious rites of the Yoruba” (69). McGregor does not seem interested in acknowledging the fact that Amado’s work is based mostly on the culture of Bahia, and that Bahia is one of the most important cen- ters of Afro-Brazilian culture. Nowadays, in fact, it would be rare to see a Bahian writer who does not belong to some Candomblé center and does not publicly acknowledge his/her religious affiliation. 9. Among the books on the subject of Spiritism, I recommend David J. Hess’s Spirits and Scientists: Ideology, Spiritism and Brazilian Culture. Hess argues that Umbandists “recognize the saints of the Catholic church, the orixás of Candomblé, and the intellectual spirits of Spiritism, but they also have their own pantheon of spirits which include slave spirits, or ‘old blacks’ (pretos vel- hos) native American spirits (caboclos), trickster Yorubá spirits (exús) and other figures, frequently derived from Brazilian popular culture” (14–15). Diana DeG Brown adds to these influences the aspects of “Hinduism, Buddhism, and other currents of mysticism” (1). Notes ● 177

10. The “Manifesto Antropófago”—which constituted a war cry for the artists partic- ipating in the modernist movement in Brazil—was originally published in the first number of the Revista de Atropofagia (May, 1928). It is now available in Revista do Livro, XVI (December, 1959): 192 (Wilson Martins 312). For more on this manifesto and its influence on Brazilian culture, see Haroldo de Campos and David Kenneth Jackson. 11. Jeca contra o capeta is the third most popular of all Mazzaropi’s film (only after the 1959 Jeca Tatu and the 1963 Casinha pequenina), with total receipts of 3,408,814 Novos Cruzeiros in 1975 (information obtained from the Instituto Mazzaropi in October 2011). 12. The divorce law in Brazil was approved only in 1977. 13. Later in the story, when the murder is discovered, Poluído keeps repeating “assas- sinaram o Camarão.” This is a reference to a very popular song by the group Os Originais do Samba. The beginning of the lyrics says that “somebody killed the shrimp: thus tragedy started in the bottom of the sea.” Indeed, in Jeca contra o capeta, the “tragedies” do start with Camarão’s death. 14. This “Jesus” is figured forth by the stereotype of many Catholic priests, who counsel patience at all costs. Or at least that was more the case when Mazzaropi made Jeca contra o capeta. The Catholic religion has suffered some important changes in Brazil since the mid-1960s, especially with the beginning of the Ecclesiastical Base Communities (CEBs) and the liberation theology. The CEBs started as a movement by lay Catholics who got together to read and discuss the Bible and its relevance for everyday life. In “Liberation Theology,” Joseph Page writes that liberation theology “posited that Christ became flesh not just to point the way to eternal salvation but also to free mankind from hunger, misery, ignorance, and oppression” (341). 15. See Cândido, Os parceiros do Rio Bonito 50–54. 16. On this point, see Habermas, “Israel and Athens, or to Whom Does Aamnestic Reason Belong?”

Chapter 4 1. In “O jeca ainda ronda a cultura,” Hamilton dos Santos writes that Mazzaropi made films to entertain, not to make people think; however, his Jeca Tatu, seen from the optic of 1991, is “um comunista jocoso”—“a funny communist” who defends the principle of communal living while trying to take advantage of other people, especially in everything related to work. This commentary certainly does not refer to all Jecas portrayed by Mazzaropi, however. O Estado de S. Paulo, Caderno 2, quinta-feira, 13 de junho de 1991. Available at http://www.museumazzaropi.com.br/sucesso/suc25.htm. 2. A very well known saying in the Caipira culture refers to the person who talks so much that he ends up “dizendo bom dia a cavalo”—“ saying good morning to a horse.” In this film, the absurdity is such that the protagonist has to “marry the mare.” 178 ● Notes

3. Such amulets appear in other works of fiction. One of the most interesting exam- ples occurs, for instance, in Kim (published as a novel in 1901), by British writer Rudyard Kipling (1865–1936). In Kim the main character also carries a medal- lion. Inside it, Kim later finds papers revealing that his father was a military man. The revelation of Kim’s origin is responsible for his acceptance in a military school and for his future as a member of the “Great Game.” 4. The wife, Dona Fifica, is played by Geny Prado (1919–1998), who would appear as his wife in so many films that there was a general belief, at the time, that she was really Mazzaropi’s wife. Nestor is played by Tarcício Meira (1935–). Although he had already worked on theater since 1957 and on TV since 1959, Casinha pequenina was Meira’s first work with cinema. He went on to make dozens of films and to appear in even more TV soap operas. See IMDB (The Inter- net Movie Database). Consulted on October 28, 2011. http://www.imdb.com/ name/nm0576967. 5. Unfortunately, the release of the film did not work according to the plan because, as Fernão Ramos writes, Sinhá Moça ended up being released two days before the original plan, on May 11. Not surprisingly, after the premiere of the film, Anselmo Duarte “offered a party for his friends and representatives of the written press, the radio and television” (Fernão Ramos 220). 6. In 1963 Carlos (Cacá) Diegues made Ganga Zumba,anattempttotellthe history of the Quilombo of Palmares, a community peopled by runaway slaves in the seventeenth century. Diegues would tell a similar story again in the 1980 Quilombo. Even though these two films can be criticized for presenting a “carni- valized” version of the runaway slaves’ attempts to form a free community, they still can be credited with being efforts to correct a gross indifference to this part of Brazilian history. 7. Scott writes, “Within this restricted social circle the subordinate is afforded a partial refuge from the humiliations of domination, and it is from this circle that the audience (one might say ‘the public’) for the hidden transcript is drawn. Suffering from the same humiliations or, worse, subject to the same terms of sub- ordination, they have a shared interest in jointly creating a discourse of dignity, or negation, and of justice” (114). 8. Tarcício Meira starred in another historical film, the 1972 Independência ou morte (Independence or Death), directed by Carlos Coimbra and produced by Osvaldo Massaini. Tarcício Meira plays Brazil’s first emperor, D. Pedro I; his real-life wife, Glória Menezes, plays the Marquesa dos Santos, Pedro I’s mistress. Independência ou Morte was extremely successful, with an audience numbering 2,978,767. “Filmes nacionais com mais de um milhão de espectadores (1970–2010).” ANCINE (Agência National do Cinema). Consulted on October 28, 2011. www.ancine. gov.br. 9. For a complete list of cangaço films, see Ramos 333–34. 10. The word cangaceiro identifies the outlaw who roamed the countryside, usually with a gang of assorted criminals. One version presents them as Robinhood type, stealing from the rich and distributing the loot to the poor. Another version sees Notes ● 179

them as blood-thirsty thieves and murderers who sacked villages, stole, raped, and killed. The film O cangaceiro was directed by Lima Barreto and produced by Cid Leite Silva for the Vera Cruz Cinema Company (Ramos 341). 11. A morte comanda o cangaço was directed by Carlos Coimbra, and produced by Marcello de Miranda Torres for the Aurora Duarte Produções Cinematográficas; Três cabras de lampião was directed and produced by Aurélio Teixeira for the J. Teixeira Produções Cinematográficas. 12. Lampião, rei do cangaço was directed by Carlos Coimbra, and produced by Osvaldo Massaini for Cinedistri. Nordeste sangrento was produced by Wilson Silva and the screenplay is a very loose interpretation of Euclides da Cunha’s Os sertões (1902); the screenplay for O cabeleira is an adaptation of Franklin Távora’s novel of the same name published in 1876; the film was produced by Prodi Filmes and distributed by PAM Filmes. 13. The celebrated recent film Central do Brasil (Central Station, 1998) also fea- tures characters going to the northeast. The story chronicles the journey of a former teacher who writes letters for the illiterate people who need her services at the busy Rio de Janeiro central bus station. After becoming involved with an orphaned boy, she takes him back to his father’s house, where he finds his broth- ers. The film was directed by Walter Salles. It received several awards and was nominated for the Oscar in 1998. 14. Obviously, by performing an activity that “only the daughters of the best São Paulo families” can perform, she is raising her value in the marriage market as well. In other words, even though she refused to accept the anonymous Corintiano her father wants her to marry, it is clear in the logic of the story that her destiny does not lie outside the constraints of marriage. It is only a matter of time for the right candidate for her hand to appear.

Chapter 5 1. On the different functions of music in film, see Simon Frith, especially 60–70. On the use of music in Brazilian cinema, see Graham Bruce, especially 290–91. 2. Beto Rockefeller lasted from November 1968 to November 1969. This is an extremely long period for a telenovela, because, unlike the North American soaps, the Brazilian—and Latin American—telenovela usually lasts no more than three months. According to Artur da Távola, Beto Rockefeller lasted so long because it was successful. After several changes in the presentation time, and in spite of the artificial lengthening of the story, this telenovela gave its producer, TV Tupi, a much-needed edge to win audience from TV Globo. Beto Rockefeller was also responsible for a shift in the themes of the telenovelas to more daily concerns of the population. For more on this and other Brazilian telenovelas, see Artur da Távola. 3. The furniture is supposed to look rich and elegant, but instead, it just looks pre- tentious and cheap. Amácio Mazzaropi produced the film, and, since we know that he never obtained official financial support to make his films, it is possible to say that the decoration reveals that the sets were poorly designed due to lack of funds. 180 ● Notes

But the appearance of Dona Neusa’s home might also be due to Mazzaropi and his team’s lack of knowledge of how a rich home at the time looked. 4. Playing the piano has long been a most definite mark of class in Brazil. The instru- ment is forbiddingly expensive, and the basic course takes nine years. For Cláudia, to play the piano is coded the same way playing the piano is coded for every young woman in Brazil, to this day: as a mark of culture and of leisure. Both make her marriageable into the middle class because she has “class.” 5. As we recall, the possibility of disease in the family is also the reason Betão gives for demanding to meet Geraldo’s family before he agrees on his marriage proposal to his daughter Cláudia.

Conclusion 1. The dissertation was later published as Cinema Novo: a onda do jovem cinema e sua recepção na França. 2. Interview of Paulo Moreira Leite, Veja. 3. Deleuze and Guattari write about Kafka’s definition of “the impass which bars Prague’s Jews from writing and which makes their literature an impossibility: the impossibility of not writing, the impossibility of writing in German, the impossibility of writing otherwise” (16). Bibliography

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A Angela, Maria, 38, 53, 54, 55, 72, 126, 128, 129, 130 Absent father, 88 Arabs, 170 African folk culture, 80 Archaic grotesque, 124, 142, 143, 145 Africans, 55 “Argentinean”, 16, 56, 169 Afro Brazilian culture, 176 As aventuras de Pedro Malazartes (The Afro Brazilian religion, 16, 143 Adventures of Pedro Malazartes), See also Candomblé religion; xii, 13, 20, 155 Umbanda Afro Brazilians, the economic B exploitation of, 3, 55 Aged body, xiv Bakhtin, Mikhail, 50, 76, 93, 99, 124, Aged female, 140 135, 142, 145 Aggressive femininity, 54 See also Rabelais and his World Agriculture, 14, 55, 58 A banda das velhas virgens (The Band of Almeida, Abílio Pereira de, 1, 26, 29, 39, the Old Virgins), xii, 15, 162 101, 151–3, 156, 167, 172, 173 Baptist religion, 80 Altered states, 46, 50 Barreto, Bruno, 168 América in the Movies ,23 See also Dona Flor e seus dois maridos See also Wood, Michael (Dona Flor and her Two Amazon, 9 Husbands, 1976) “Americanized” style, 3, 114, 117, 120 Barreto, Lima, 179 American tourist, 64 See also O cangaceiro (1953) ANCINE–Agência Nacional do Cinema Barreto, Luis Carlos, x, 147, 148 (Cinema National Agency), x, 165, Barsalini, Glauco, 149 168, 178 See also Mazzaropi, o Jeca do Brasil Andrade, Carlos Drummond de, 147 Beauty contest, 40, 41 Andrade, Joaquim Pedro de, 73, 168, Beauty pageants, xii 172, 174, 175 Benzedor-blesser, 77 See also Macunaíma (the film) Bernardet, Jean-Claude, 7 Andrade, Mário de, 20, 57, 125, 172, Betão Ronca Ferro (Big Iron Bob), xii, 174, 175 15, 126, 130–5, 136, 138, 145, See also Macunaíma 159, 180 Animals replaced by machines, 25, 30, Beto Rockefeller, 15, 130, 179 31, 47, 48 “Blackface”, 54, 73, 173 188 ● Index

Blood, 41, 43, 44, 48, 86, 107, 124 Candinho, xii, 2, 11, 12, 23, 25, 28, 44, Body 45, 57, 97, 101–6, 120, 124, 152, the female body, 38, 39, 84, 123, 170 125, 126, 128, 129, 132, 137, Cândido, Antonio, 14, 95, 125, 169, 138, 140, 141, 143–6 170, 171, 177 the male body, 38, 39, 123, 125, 126, See also “Os parceiros do Rio Bonito” 129, 135, 144 Candomblé religion, 80, 81, 93, 143, as a marker of class, 21, 123, 133, 176 135, 137, 180 Cangaceiros, 16, 65, 66, 68, 90, 111–13, the pregnant body, xiv, 144, 145 171, 174, 178 the sexual body, 127, 139 O cangaceiro (1953), 111, 179 the virginal body, 20, 126, 129, 137 See also Barreto, Lima Brasília, 79, 113, 147, 168 Cangaço, xii, 111, 112, 113, 114, 178, Brasil Filmes, 23, 172, 173 179 “Brazilian,” category of, 57, 73 Cannes, 8, 21, 168, 175 Brazilian history, 15, 55, 98, 100, 108, Cannibal, 106 173, 178 Cannibalism or “Antropofagia”, 171 Brazilian identity, 12, 21, 47 Cannibal manifesto, 81 Brazilian intelligentsia, 4, 150 Cannibalization, 20, 119, 172 Brazilian popular culture, 15, 17, 20, Capitalist society, the fringes of, 116, 171, 176 9, 32 Brazilian Portuguese language, xiv, 2, Cardoso, Fernando Henrique, 23 12, 15, 31, 37, 39, 45, 62, 65, 104, Cariocas, 65, 174 112, 128, 132, 146, 173–5 Acarrocinha(The Dog Catcher), 2, 23, Buddhist ceremony, 77 32–4, 43, 44, 50, 152, 173 Buddhist missionary, 176 Carvalho, Vladimir, 4, 168 Buddhist temple, 175 See also Conterrâneos Velhos de Guerra Bulgarian army, 105 (Dear War Buddies, 1991) Bureaucratic state, 12, 25 Casagrandeesenzala(The Master and Bye Bye Brazil (1979), 4, 168 The Slaves, 1933), 3 See also Diegues, Carlos (Cacá) See also Freyre, Gilberto Casinha pequenina (Little House), xii, 14, 16, 20, 57, 77, 97, 98, 107, C 108, 111, 112, 120, 156, 177, 178 O cabeleira (The Hairy One, 1963), Catani, Afrânio Mendes, 1, 167, 172 112, 179 Catholic, xiv, 16, 17, 76, 77, 80, 84, 88, Caetés Indians, 79, 81 96, 104, 105, 176, 177 Caipira, xi, xiii, xv, 2, 9–12, 14–16, Catholicism, 75, 76, 81, 95 18–21, 24, 26, 56–8, 64–6, 73, 95, Ceará, 80, 172 98, 109, 111, 113, 114, 118, 121, Chanchada, 6, 102, 169, 172 124, 125, 149, 150, 160 Chaplin, 26, 171 Um Caipira em Bariloche (A Caipira in Chaplinesque gait, 171 Bariloche), 16, 73, 160 Chico Fumaça (Smoky Chuck), 2, 10, “Caliças no País das Maravilhas”, 4 11, 24, 45, 48–50, 63, 64, 124, Candide, xii, 2, 11, 101–6, 152 154 Index ● 189

Cinema Marginal (Marginal Cinema), Corínthians, 97, 114–16, 158 170 “Cosmic body”, 123, 124 See also Ramos, Fernão “Coup d’etat”, 58 Chofer de praça (Taxi driver), 12, 13, Critics’ indifference to Mazzaropi’s 100, 120, 154 work,2,8 Christian, xiv, 76, 78, 79, 80, 119 Criticism against the grain, xiii Christianity, 78, 80 false Christians, 105 D The Church, 89 Cine Art Palácio, xiii, 167 Deleuze and Guattari, 149, 180 Cinedistri, 2, 24, 154, 173, 179 See also “Minor literature” “Cinema and Identity”, 5 Demographic distribution of Cinema Brasileiro, ix, 7, 23, 108, 109, Brazil, 6 111, 172 Deus é brasileiro (God is Brazilian, “Cinema de autor” (“auteur 2003), 76, 175 cinema”), 5 Deus e o Diabo na terra do sol (Black Cinema and national culture, God, White Devil, 1964), 4, 76, relationship between, 1 111 Cinema Novo “Deus ex Machina”, 107 hailed abroad, 5, 9 Devil, xii, xiii, 27, 75, 81–6, 118, small and select audience in Brazil, 143–5, 161, 171 x, 5 Devil possession, 77, 83 “The Cinema of Exile”, 97, 99 Diaspora, 95, 171 See also Hondo, Abid Med Dictatorship, 63, 99, 100, 174 Cinemateca Brasileira, ix, 8 Diegues, Carlos (Cacá), 4–6, 67, 175, Class, xiii, 1, 10, 21, 41, 53, 58, 64, 73, 178 80, 88, 109, 110, 115, 121, 123, SeealsoByeByeBrazil(1979) 133, 135, 180 “Difficult films”, 150 higher class, 135, 137 Disorganized colonization, 47 lower class, 1, 9, 116, 130, 133, 134, The divine, 69, 70, 84, 95 135 Divorce, 81–4, 177 middle class, 6, 7, 75, 115, 169, 175, Dom Pedro I and II, 146 180 Dom Pero Fernandes Sardinha, 79 working class, 9 Dona Flor e seus dois maridos (Dona Flor Committed cinema, 99 and her Two Husbands, 1976), 4, “Communist”, 41, 99, 177 168 Community, 13, 16, 25, 31, 58, 60, 62, See also Barreto, Bruno 71, 65, 95, 114, 136, 138, 139, O dragão da maldade contra o santo 174, 178 guerreiro (The Evil Dragon Against Concubines, 79, 80, 106 the Warrior Saint, 1969), 111 Constantinople, 106 See also Rocha, Glauber (1939–1981) Conterrâneos Velhos de Guerra (Dear War Drummond de Andrade, Carlos, Buddies, 1991), 4, 168 147 See also Carvalho, Vladimir Duarte, Anselmo, 4, 175, 178 O corintiano (The Corinthians Fan), 97, See also O pagador de promessas (The 114, 115, 116, 158 Given Word, 1962) 190 ● Index

E Flesh, 48, 177 the pleasures of the, 79 Elite, 130 the punishment of, 37, 79, 143 academic elite, 7 Folha de São Paulo, x, 4, 19, 167 elite public, 4 Folk–hero bandit, 15, 111–13, 171, intellectual elite, xiii, 9, 18, 174, 179 147, 148 See also Lampião urban elite, 18 Folkloric beliefs, xi, 76, 98 English language, XIV, 2, 26, 64 Folkloric figure, 80, 113, 174 “O espelho” (“The Mirror”), 47, 173 Folkloric knowledge, 9 Espiritismo (Spiritism), 16, 80, 81, 91, Folkloric material, xii, 20 95, 176 Foreign, category of, 25, 56, 57 “Estética da fome” (“Hunger Foreign films, 5, 15, 169 Aesthetics”), 99 Foreignmodel,6 See also Rocha, Glauber (1939–1981) Foreigners posing as Brazilians, 12 Europe,5,8 The foreign within, 16, 20, 56, 57, 64, Europeans, 9, 172 65, 67, 68, 73, 114, 119, 120, 170, European colonization of 172, 174 Brazil, 76 Forgiveness, 13, 74, 83 European immigrants, 56, 113 Formação do Brasil contemporâneo Excrement, 133–5 (Formation of Contemporary The Exorcist, 16, 81 Brazil), 3 Exorcizing rituals, 83 See also Prado Júnior, Caio France, 4, 5, 101, 103, 148, 149, 168 F Freyre, Gilberto, 3 FamaFilmes,2,23 See also Casa grande e senzala (The Family, 2, 10, 14–16, 20, 24, 27, 29–32, Master and The Slaves, 1933) 35, 50, 57–9, 61, 65, 66, 69, 70, Fuzileiro do amor (Marine of Love), 2, 74, 77, 81, 83, 87–90, 92, 98, 104, 24, 35, 50, 53, 56, 72, 73, 125, 106–9, 111–21, 130–6, 139, 141, 126, 153, 173 144, 180 Father Antônio Vieira, 80, 176 G See also Slavery, against Gabeira, Fernando, 147 Female authority, 37, 38 Ganga Zumba, 67, 68 Female body, 38, 39, 84, 123, 125, 126, Ganga Zumba (1963), 178 128, 129, 132, 137, 138, 140, 141, O gato de madame (Madam’s Cat), xii, 2, 143, 144, 145, 146 23, 39, 75, 146, 153 “female principle”, 123, 146 German, 12, 56, 100, 170, 180 Female voice, 126, 137 Goethe Institute, 5 Feminine body, 127, 129 Goiás, 14 Feminine world, 42 “Golden Law”, 107, 108 Ferreira, Alexandre Figueirôa, 148 Gone with the Wind, 89 See also La vague du Cinema Novo en Government, paternalist model of, 32 France O grande xerife (The Great Sheriff), xii, Festa,Regina,5,6 15, 16, 77, 85, 138, 160 Fiske, John, 20 “Green inferno”, 9 Index ● 191

Grotesque characteristic, 124 Ireland, Rowan, 76 Grotesque dimension, 50, 124 Instituto Milho Verde, ix Grotesque images, 46 archaic grotesque, 124, 142, 143, 145 J Gypsy, 83, 140, 141, 142 Jacob, Norival Millan, 10 Jameson, Fredric, 24, 26, 48 H See also “The Political Unconscious” Habermas, Jürgen, 75, 78, 94, 95, 176, Japan, xiv 177 Japanese immigrants, 12, 16, 58–63, See also “Religion in the Public 170, 174 Sphere” Japanese language, 62 Harmony, 74, 116 Japaneseness, 62 Hegemonic centrist position, 9 Jeca contra o capeta (Jeca Against the Heroism, 15, 46, 98, 108 Devil), xii, 16, 77, 81, 86, 144, 161 “The hero with no character”, 20, 21, Jeca e a égua milagrosa (Jeca and the 57, 73, 125, 172, 174, 175 Miraculous Mare), xii, xiii, 14, 17, See also Macunaíma 77, 92, 97, 100, 120, 144, 162 “Hidden transcripts”, 107 O Jeca e a freira (Jeca and the Nun), xii, História do cinema brasileiro, 172 14, 16, 77, 86, 158 See also Catani, Afrânio Mendes; Jecão.um fofoqueiro no céu (Big Jeca. a Ramos, Fernão Gossip in Heaven), xii, 14, 77, 92, History, xiv, 4, 6, 7, 13, 15, 55, 58, 74, 144, 161 78–80, 93, 97, 98, 100, 101, 108, Jeca e seu filho preto (Jeca and his Black 109, 111–13, 120, 121, 147, 167, Son), 3, 14, 56, 68, 69, 73, 77, 169, 170, 172, 173, 175, 178 144, 145, 162 Historical conditions in Brazil, 3 Jeca macumbeiro (Macumba Jeca), 14, Holanda, Sérgio Buarque de, 3 16, 89, 92, 131, 145, 161 See also Raízes do Brasil (The Roots of Jequitibá, 46, 50, 64, 65 Brazil) Jeca Tatu (Armadillo Jeca), xii, 1, 13, 14, Hollywood film industry, 6 20, 51, 57, 101, 154, 170, 171, Hollywood films, 6 177 “Homo Sapiens”, 44 Jeca Tatuzinho, 14, 155, 170 Hondo, Abid Med, 97, 99 Jesuits, 79 See also “The Cinema of Exile” Jesus, 82–5, 176, 177 Husbandry, 60 Jewish people, 80 Jewish religion, 76 I Jews, 105, 170, 180 Ideological assumptions, 63 “John Doe”, 15, 20 “Ideologically aligned movement”, 5, 6 See also Diegues, Carlos (Cacá) K Ideology, 6, 18, 176 Independence from Portugal, 47 Kardec, Allan, 80 Indian folk culture, 80 Kardecism, 80 Indian religion and beliefs, 76 Kubitscheck, Juscelino, 13, 139, 176 192 ● Index

L “Mater et Magistra”, 89 Mato Grosso, 14 O lamparina (Little Gas Lamp), xii, 14, Mazzaropi, Amacio (1927–1980) 15, 20, 57, 58, 65, 73, 97, 111–15, as an actor, xiii, 5, 10, 26, 51, 102 157 as a businessman, xii, 99 Lampião, 15, 111–13, 171, 174 as a director-producer-writer, xiii, 5, Lampião, rei do cangaço (Lampião, King 51 of the “Cangaço”, 1963), 112, 179 hiring extras, 10 “Langue”, 49 visiting people, 9 La vague du Cinema Novo en France, 148 Mazzaropi, a saudade de um povo,21 See also Ferreira, Alexandre Figueirôa See also Oliveira, Luiz Carlos League of Saint Cyprian, 118, 119 Schroder Leone, Eduardo, 4 Mazzaropi, o cineasta das plateias Liberal democracies, 78 (Mazzaropi, the Public’s Lobato, Monteiro, 14, 155, 170, 171 Filmmaker), 149 López, Ana M, 169, 170 Mazzaropi, o Jeca do Brasil, 149 See also Mother, mother in Mexican See also Barsalini, Glauco culture Mechanical objects, 13, 23, 24, 26, Lutheran, 80 28–30 Medicamentos Fountoura-Fontoura M Medicines, 14, 170 MacCabe, Colin, 1 Mendieta, Eduardo, 94 Machado de Assis, Joaquim Maria, 47, Metamorphosis, 47–50 48, 173 Methodist, 80 See also “O espelho” (“The Mirror”) Meu Japão Brasileiro (My Brazilian Macumba, 17, 76, 77, 89, 95 Japan, 1964), xiv, 16, 20, 56, 58, Macunaíma, 20, 21, 57, 73, 125, 174, 61, 63, 77, 157, 167, 175 175 Midas curse, 31 Macunaíma (the film), 73, 168, 172, Milho Verde, ix, x, 147, 148, 167 174 Military dictatorship, 99, 174 See also Andrade, Joaquim Pedro de Military life, 37, 50, 127 Madrid, 16, 66–8 Minas Gerais, ix–xi, 14, 147 Male authority, 38 Ministry of Culture, Audiovisual Male voice, 37, 127, 128, 130 Secretary, ix Margô Morel, 53, 54, 72 “Minor literature”, 149, 180 See also “Aggressive femininity”; “The See also Deleuze and Guattari Queen of Mambo” Missa inaugural (Inaugural mass), 61, 79 Maristela Company, 102 Mirzoeff, Nicholas, 125 Marriage, 3, 36, 39, 44, 60, 70, 83, 89, Mixed marriage, 3 91, 101, 106, 107, 117, 127, 128, Money and happiness, 45, 92 130–2, 135, 138–40, 142–5, 179, Modernist movement, 81, 177 180 Modernity, 94, 118 Marriage between a human and an Moisés (Moses), 104 animal, 17, 93 A morte comanda o cangaço (Death Masculine body, 54 Commands the “Cangaço,” 1960), Masculinity, 54 111, 179 Index ● 193

Mother, 13, 82, 88, 91, 100, 101, 103, North American hippies, imitations of, 2 104, 106, 108, 109, 132, 138, 145, North American influence, 54, 98, 102, 146, 170 111 black mother, 73 North American popular culture, 54 Indian mother, 57, 73 “Northeasternese”, 66 mother country, 16 “Os novos rumos do cinema Brasileiro”, mother-in-law, 64, 82, 84, 126, 7, 108, 109, 111 131–3, 135, 136, 146 See also Ramos, Fernão mother in Mexican culture, 170, see Nun, 76, 77, 86–9, 94, 118, 158 also López, Ana M white mother, 69 O Mulatta, 54, 55, 72, 73 Mulattoes, 56 Official critical establishment, 1, 6, 147 Multifilmes Company, 102 Official history, xiv, 97, 111 Mulvey, Laura, 20 Official language, 18 Muslim religion, 76 Old fashioned cultural and religious Museu da Imagem e do Som (Museum of practices, 14 Image and Sound), 147 Oliveira, Luiz Carlos Schroder, 8 Museu Mazzaropi, 149, 154 Oppositional discourses, 18 Mythmaking, 113 Oppositional forms, 18 Orixás, 143, 176 N P Nadando em dinheiro (Swimming in Money), 2, 10, 23, 29, 30, 32, 33, Padre Cícero, 79, 80, 176 43–5, 48, 49, 100, 106, 124, 151 O pagador de promessas (The Given Naked body, xiv, 123, 125 Word, 1962), 4, 175 Nation, xiii, 1, 5, 6, 9, 23, 68, 97, 105, See also Duarte, Anselmo 114, 115 Pajé (shaman, healer), 77 National culture, 1, 2, 17 Palmares, 67, 175, 178 National identity, 12 See also Quilombo National linguistic unity, 16 No paraíso das solteironas (In the National markets, American invasion of, Spinsters’ Paradise), xii, 15, 139, 148 159 National others, 11 Os parceiros do Rio Bonito, 95, 170, 171, National patrimony, 10 177 Navy, 35, 36, 37, 39, 55 See also Cândido, Antonio Niemeyer, Oscar, 147 Paris, 150 Nina Rodrigues, Raimundo, 55, 173 “Parole”, 49 Onoivodagirafa(The Giraffe’s Groom), PAM Filmes (Produções Amácio 2, 12, 24, 43, 44, 45, 48, 50, 124, Mazzaropi), xii, xiii, 2, 8, 12, 26, 153 99–101, 116, 118, 124 Nordeste Sangrento (Bloody Northeast, Paradise, 15, 103, 142 1963), 112, 179 Paraná, the state, 21, 58, 172 See also Silva, Wilson Payne, Tom, 1, 26 Nordestinos (Northeasterners), 7, 113, Pentecostal, 80 114 “People’s passivity”, 7, 108 194 ● Index

Picaresque genre, 103 Racial tensions, 3, 57 Picaresque novel, 102 Raízes do Brasil (The Roots of Pícaro, 103 Brazil), 3 Piracema, 25, 101, 103 See also Holanda, Sérgio Buarque de UmapistolaparaDjeca(A Pistol for Rocha, Glauber (1939–1981), ix–xi 4, Djeca), xii, 14, 15, 144, 145 6–9, 76, 99, 111, 147, 148 Pornographic films, xii, 15 on “hunger aesthetics”, 99 Portuguese folk culture, 80 on love, 99 Portugal... Minha saudade (Portugal... I on violence, 99 Miss you), 16, 73, 138, 146, 160 See also Deus e o Diabo na terra do sol The Political Unconscious, 24, 26 (Black God, White Devil, See also Jameson, Fredric 1964); Estética da fome” Prado Júnior, Caio, 3 (“Hunger Aesthetics”); Terra em See also Formação do Brasil transe (Land in Anguish, 1967) contemporâneo (Formation of Ramos, Fernão, 7, 108, 109, 111, 170, Contemporary Brazil) 175, 178 “Preindividualist narratives”, 26 See also Cinema Marginal (Marginal See also Jameson, Fredric Cinema); “Os novos rumos do Pre-bureaucratic society, 42 cinema brasileiro” Progress, 33, 95, 149 Ramos, Graciliano, 8 Public opinion, the approval of, 94 Ramos, José Mário Ortiz, 21 “Public reason”, 78, 79, 95 Rampinelli, Waldir José, 79, 176 See also Habermas, Jürgen Rede Manchete de Televisão, 21 O puritano da rua Augusta (The Puritan Refrain (of a song), 37, 45, 132 of Augusta Street), xii, 2, 3, 77, 97, Reincarnation, 17 114, 116, 119, 120, 137 Religion the location of, 78, 95, 96, 176 Q as a problematic space, 75 “Religion in the Public Sphere”, 78 Querino Neto, Antonio, 18, 170 See also Habermas, Jürgen “The Queen of Mambo”, 38, 39, 53, Religious affiliation and practice, 76, 72, 129 176 See also Margô Morel Religious ceremony, 75, 78, 79 Quilombo, 67, 68, 175, 178 Religious map of Brazil, 76 See also Palmares Reproductive forces, 34 Reversal of gender roles, 71 R Revolução do Cinema Novo (Revolution Rabelais and his World, 124, 145 of Cinema Novo), 8 See also Bakhtin, Mikhail See also Rocha, Glauber (1939–1981) Race relations, 3, 55, 72 Revolutionary film, 99, 120, 148 Race subsumed under language, xiii, “Revolutionary pedagogy”, x 63, 67 Rezador (the one who prays), 77 “Racial Other”, 125 Ribeiro, Darcy, 53 Racial politics, 71 Rosa, João Guimarães, 47 Racial structure of Brazil, 3, 54, 56–8, See also “O espelho” (“The Mirror”) 71–3 Rodrigues, João Carlos, 72, 173 Index ● 195

Rodrigues, Nina, 55, 173 Spiritist leaders, 77 Rural, the silence of the, 9, 22 “Spiritual possession”, 77 Stam, Robert, x, 6, 102, 167, 169 S System of production, acceleration of Sai da frente (Get out of the Way), 2, 10, the, 14 12, 23, 26, 29, 30, 32, 33, 43, 44, 48–50, 100, 124, 151 T São Paulo, xi, xiii, 2, 5, 7, 9, 10, 12–14, Tarzan, 92 19, 27, 28, 58, 79, 100, 101–2, Taubaté, 8, 12, 149 112–17 Terceiro Mundo (Third World), 147 Santos, Nelson Pereira dos, 4, 7 See also Vidas Secas (Barren Lives, Terra em transe (Land in Anguish, 1963) 1967), ix, x, 4, 147, 148, 150, 167 Sardinha, Dom Pero Fernandes, 79 See also Rocha, Glauber (1939–1981) Saussure, Ferdinand de, 49 Terra incógnita,9 See also Langue; “Parole” Tempoglauber, xi Scott, James C., 109, 111, 178 Thiré, Carlos, 29, 151 See also “Hidden transcripts See also Nadando em dinheiro Search for origins, 11 (Swimming in Money) Secularization, 94, 95 “Tombamento”, 10, 170 Sexual desire, 37, 60, 61, 72, 73, 128, Transformation, xiii, 2, 7, 13, 23–6, 30, 140, 141 36, 46, 76, 99, 145, 146 Sexual energies, 35, 53 See also Metamorphosis Sexuality and political structure, 34 Três cabras de Lampião (Three Men from Shroder, Luiz Carlos, 8 Lampião’s Gang, 1962), 112, 179 See also Mazzaropi, a saudade de um Tristeza do Jeca (Jeca’s Sadness), 13, 14, povo 120, 126, 156 Sibling rivalry, 88, 89 Tupi-Guarani, 77 Signature character (Jeca Tatu), 51 “Turma da melancia” (“Watermelon Sinhá Moça (1953), 108, 109, 178 people”), 41 Silva, Wilson, 112, 179 “Turk”, 12, 25, 56, 57, 170 See also Nordeste Sangrento (Bloody Northeast, 1963) U Slavery, against, 80 See also Father Antônio Vieira Umbanda, 80, 81, 143 Slaves, 48, 55–7, 67, 80, 98, 107–11, University of Paris III, 148 120, 173, 175, 178 Urban elites, hegemony of, 18 Soccer, 33, 35, 92, 114, 115 Urban growth, 6 Socialization, 50 Urban middle class, 6, 7 Sociedade Amigos da Cinemateca Utopic dimension of language, 50 (Society of Friends of the Cinemateca), ix V Solteirona (spinster), 15, 126, 132, 139, 140, 142, 143 Vanishing Brazil, 102 “Spaghetti Westerns”, 15 Vanishing point of difference, the body Spanish, 56, 65, 66, 112 as, 145 196 ● Index

O vendedor de linguiça (The Sausage W Salesman), 13, 20, 124, 135, 138, Williams, Raymond, 18 156 Wood, Michael, 23 Vera Cruz Cinema Company, xiii, 1, 12, 23, 101, 102, 109 Y Vidas Secas (Barren Lives, 1963), 4, 7 See also Santos, Nelson Pereira dos Yoruba African religions, 80, 176 Vieira, João Luiz, 6, 102 Violence embedded in Brazil’s history, Z 74 Zé do Periquito (Parakeet Joe), xii, 13, Voltaire, 11, 101, 105, 106, 152 155