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Cineclube P M P M Www R R E E O O D D G G I I R R Colaboração .Contracampo.Com.Br a a a a Ç Ç M M FILMOGRAFIA Ã Ã O O a a Ç Ç Billy Wilder (1906-2002)

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Cineclube P M P M Www R R E E O O D D G G I I R R Colaboração .Contracampo.Com.Br a a a a Ç Ç M M FILMOGRAFIA Ã Ã O O a a Ç Ç Billy Wilder (1906-2002) 1934 Mauvaise Graine 1961 One, Two, Three (Cupido Não 1942 The Major and the Minor (A Incrível Tem Bandeira) Suzana) 1963 Irma, La Douce (Irma, La Douce) apresenta 1943 Five Graves to Cairo (Cinco Covas 1964 Kiss Me, Stupid (Beija-me, Idiota) no Egito) 1966 The Fortune Cookie (Uma Loura sessão 1944 Double Indemnity (Pacto de por um Milhão) cineclube Sangue) 1970 The Private Life of Sherlock 1945 The Lost Weekend (Farrapo Holmes (A Vida Íntima de Humano) Sherlock Holmes) 1945 Death Mills [cm, doc] 1972 Avanti! (Avanti... Amantes à 1948 The Emperor Waltz (A Valsa do Italiana) Imperador) 1974 The Front Page (A Primeira 1948 A Foreign Affair (A Mundana) Página) 1950 Sunset Blvd. (Crepúsculo dos 1978 Fedora (Fedora) Deuses) 1981 Buddy, Buddy (Amigos, Amigos, 1951 Ace in the Hole/ The Big Carnival (A Negócios à Parte) 30 de Março de 2005 - Ano III – Edição nº 83 Montanha dos Sete Abutres) ) A 1953 Stalag 17 (Inferno nº 17) 2 I 1954 Sabrina (Sabrina) 0 F 0 1955 The Seven Year Itch (O Pecado Mora 2 ao Lado) - A 6 1957 The Spirit of St. Louis (Águia 0 Solitária) R 9 1 1957 Love in the Afternoon (Amor na ( G Tarde) r e 1958 Witness for the Prosecution O d (Testemunha de Acusação) l i 1959 Some Like it Hot (Quanto Mais M W Quente Melhor) L y l 1960 The Apartment (Se Meu I l i Apartamento Falasse) F B sessão cineclube Mediação do Debate: Luiz Carlos Jr. e Ruy Gardnier. CREPÚSCULO DOS DEUSES Programação e Produção: de Billy Wilder Grupo Estação e Contracampo. A história original é narrada por um morto, que com Sunset Blvd. – E.U.A, 1950, 35mm, P&B, 110’ muito bom humor relembra seu envolvimento com Direção: Billy Wilder Norma Desmond (Gloria Swanson), uma ex-rainha Roteiro: Charles Brackett, Billy Wilder, D.M. Marshman Jr. colaboração apoio realização do cinema mudo, que vive de lembranças em sua mansão localizada na célebre Sunset Boulevard e Produção: Charles Brackett A Música Original: Franz Waxman cujo único empregado é o diretor de seus antigos C I Fotografia: John F. Seitz filmes. Uma sátira devastadora sobre o lado mais N C Edição: Arthur P. Schmidt sombrio do ser humano, refletido nos espelhos da É E Elenco: William Holden (Joe Gillis), Gloria T S solidão, da saudade de tempos melhores e da Swanson (Norma Desmond), Erich von P vaidade doentia, crônica irretocável de como A patrocínio O Stroheim (Max von Mayerling), Nancy Olson H N Hollywood, "Fábrica de Sonhos", funciona, pensa e C I (Betty Schaefer), Fred Clark (Sheldrake) www.contracampo.com.br www.estacaovirtual.com I F S destrói aqueles que ela própria cria. A tela do Odeon BR nos permitirá conferir: Crepúsculo dos Deuses vemos Gloria Swanson e Erich Von Stroheim nos é um filme daquele tipo que se impõe quando aparece na tela – há papéis de Norma Desmond e Max von Mayerling, um certo peso jogado sobre nós que assistimos, o peso da tradição porque o filme nos apresenta imagens de Queen do cinema. Não apenas o peso da tradição que o próprio enredo em Kelly, o filme de Stroheim que nunca foi terminado, torno de Norma Desmond representa, mas a tradição que porque surgem na tela figuras como Buster Keaton e Crepúsculo dos Deuses, ao mesmo tempo, encarna e agride, a de mesmo Cecil B. deMille e Hedda Hopper. O filme age um grande clássico do cinema. E por conta disso é preciso notar para que a visão grotesca ligue-se definitivamente ao como o filme foge do padrão naturalista tradicional de forma mundo real – e precisa ser visto e revisto numa sala de admirável: a estrutura se baseia numa narração irônica de um cinema porque desde início assume-se como filme de protagonista falecido e, ao longo do filme e especialmente em seu cinema. final, a encenação, as atuações e ambientações são hiper- Dos muitos aspectos que já ganharam elogios sem expressivas – com um olhar cruel sobre os excessos típicos de um conta neste filme, há um que parece ser decisivo cinema perdido no passado, um cinema que não se pretendia para o filme acima de todos. Crepúsculo dos Deuses ? naturalista. A própria construção de luzes sobre a figura de não é apenas o divertido tom auto-paródico dos Swanson/Desmond tem em todos os momentos (e sobretudo nos O diálogos e da narração em off, não é apenas uma closes) uma força além do naturalismo e da natureza, uma força que C opção coerente e forte na realização visual e sonora, I retorna com vigor a uma outra relação visual do cinema com os não é o apuro técnico fascinante com que é feito, personagens/estrelas. Vale aqui lembrar um dado da produção para S não é somente o retrato da decadência dos comprovar que a opção fotográfica do filme aponta para isso, e não S sobreviventes de uma era. Mas o filme talvez possa apenas através dos jogos e luz: os negativos originais de Crepúsculo se definir todo na relação que estabelece com sua Á dos Deuses eram compostos de nitrato, substância que, naquele protagonista. A interpretação de Swanson/Desmond L momento, já havia sido trocada pelo acetato nas películas de é responsável por trazer à tona todo o impacto que C cinema décadas antes – e cujos tons de cinza, naturalmente, o filme tem, por ser o cerne de todo o problema que remetem os espectadores a um cinema antigo, ainda da era muda. o filme pretende criar com ares trágicos – essa M Narrando uma tragédia em tons assumidamente grotescos e hiper- oposição entre um mundo vivido e um mundo expressivos e carregando o peso do clássico de cinema, mítico e sonhado. U Crepúsculo dos Deuses, portanto, não é um filme suave. Cada gesto, cada olhar e cada momento de silêncio E Encará-lo na bela tela do Odeon BR, no entanto, é prazer dos maiores de Desmond se opõe a tudo que se espera como V justamente por isso: é por esta maneira de apresentar seus traços de normal, menor, cotidiano, o mesmo ocorrendo com R amargura e incômodo que o filme se mantém único na carreira do a própria luz que incide sobre ela – os próprios realizador e na história do cinema norte-americano. Não há no longo personagens percebem este aspecto, esta aura que E e fabuloso percurso de Wilder nenhum outro filme que agrida de se transfere da arte para a estrela e que parece fazê- S forma tão clara as bases de uma cultura cinematográfica calcada no la brilhar mesmo no ocaso. É lidando e pondo em ultra-realismo (ao contrário, Wilder foi um mestre do estilo clássico) relevo este tom acima do tom que o filme encontra E – em nenhum outro filme seu encontraremos cena semelhante à sua chave única, sua dissonância entre seus pares. E o U n descida final de Norma Desmond. E mesmo numa cultura tão auto- é descrevendo com crueldade e empatia esta dor a t Q crítica quando a norte-americana é difícil encontrar outro exemplo que Crepúsculo dos Deuses sabe se fazer grande e e a de tragédia semelhante a este, apresentando aos nossos olhos os consegue se sustentar com todo seu peso, este peso C l A próprios mitos abandonados – não foi feita outra peça em qualquer que, se lhe dá a sabida aura de clássico, também e i n arte que tenha revisitado os ídolos de uma fase dourada já na sua mantém este seu sabor amargo e ainda incômodo. R a D velhice evidentemente precoce e gagá. É preciso notar o que todos A r sabemos: Crepúsculo dos Deuses é especialmente pesado porque o P P.
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