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Cineclube Grupo Estaçãoecontracampo 1930 Grumpy 1944 Winged Victory (Encontro nos Céus) 1930 Virtuous Sin (Coragem de Amar) 1945 I'll Be Seeing You (Ver-te-ei Outra Vez) 1930 The Royal Family of Broadway [co-dir., não creditado] 1931 Tarnished Lady (Casamento Singular) 1947 Desire Me (Sagrado e Profano) [co-dir., não creditado] 1931 The GIrls About Town apresenta 1947 A Double Life (Fatalidade) 1932 One Hour With You (Uma Hora Contigo) [co-dir. com Ernst Lubitsch] 1948 Edward, My Son (Meu Filho) sessão 1932 What Price Hollywood (Caluniada) 1949 Adam's Rib (A Costela de Adão) 1932 A Bill of Divorcement (Vítimas do 1950 A Life of Her Own (Perdidamente Tua) cineclube Divórcio) 1950 Born Yesterday (Nascida Ontem) 1932 Rockabye (Caluniada) 1951 The Model and the Marriage Broker (A 1932 The Animal Kingdom [co-dir., não Modelo e a Casamenteira) creditado] 1952 The Marrying Kind (Da Mesma Carne) 1933 Our Betters 1952 Pat and Mike (Mulher Absoluta) 1933 Dinner at Eight (Jantar às Oito) 1953 The Actress (Papai Não Quer) Programação Especial 1933 Little Women (Quatro Irmãs) 1954 It Should Happen to You (Demônio de 1934 Manhattan Melodrama [co-dir., não Mulher) Grandes Diretores creditado] 1954 A Star is Born (Nasce uma Estrela) 1934 The Personal History, Adventures, 1956 Bhowani Junction (A Encruzilhada dos 2 de Fevereiro de 2005 - Ano III – Edição nº 77 Experience, and Observation of David Destinos) Copperfield, the Younger (David 1956 Lust for Life (Sede de Viver) [co-dir., não Copperfield) creditado] 1935 No More Ladies [co-dir., não creditado] 1957 Les Girls (Les Girls) 1935 Sylvia Scarlett (Vivendo em Dúvida) 1957 Wild is the Wind (A Fúria da Carne) 1936 Romeo and Juliet (Romeu e Julieta) 1958 Hot Spell (Quando Vem a Tormenta) 1936 A Dama das Camélias (Camille) [co-dir., não creditado] 1938 I Met My Love Again (Tinha Que Ser Tua) 1960 Heller in Pink Tights (Jogadora Infernal) [co-dir., não creditado] 1960 Song Without End (Sonho de Amor) [co- ) 1938 The Adventures of Tom Sawyer (As dir.] 3 Aventuras de Tom Sawyer) 1960 Let's Make Love (Adorável Pecadora) 8 A 1938 Holiday (O Boêmio Encantador) 1962 The Chapman Report (A Vida Íntima de 9 I 1 1938 Zaza (Zazá) Quatro Mulheres) F - 1939 The Women (As Mulheres) 1962 Something's Got To Give [incompleto] 9 1939 Gone with the Wind (...E o Vento Levou) 1964 My Fair Lady (Minha Bela Dama) 9 A [co-dir., não creditado] 1969 Justine (Justine) 8 1 1939 Susan and God (Uma Mulher Original) R ( 1972 Travels with My Aunt (Viagens com a 1940 The Philadelfia Story (Núpcias de Minha Tia) r G Escândalo) o 1975 Love Among the Ruins (Amor Entre k 1941 A Woman's Face (Um Rosto de Mulher) Ruínas) [tv] O u 1941 Two Faced Woman (Duas Vezes Meu) 1976 The Blue Bird (O Pássaro Azul) C 1942 Her Cardboard Lover (Idílio a Muque) 1979 The Corn is Green (O Milho está Verde) e M [tv] g 1942 Keeper of the Flame (O Fogo Sagrado) r L 1943 Resistance and Ohn';s Law [doc.] 1981 Rich and Famous (Ricas e Famosas) o I e 1944 Gaslight (À Meia Luz) F G sessão cineclube próxima sessão MY FAIR LADY – MINHA BELA DAMA Mediação do Debate: Janeiro e Fevereiro de George Cukor Luiz Carlos Jr. e Ruy Gardnier. PROGRAMAÇÃO ESPECIAL GRANDES DIRETORES Programação e Produção: 9/FEV A GRANDE TESTEMUNHA Um professor (Rex Harrison) assume o My Fair Lady – E.U.A, 1964, cor, 170 min Grupo Estação e Contracampo. de Robert Bresson Direção: George Cukor. Roteiro: Alan Jay Lerner, desafio de transformar uma impetuosa baseado em peça teatral de George Bernard Shaw. 23/FEV PROFISSÃO REPÓRTER vendedora de flores (Audrey Hepburn) numa Fotografia: Harry Stradling Sr. Montagem: William H. de Michelangelo Antonioni refinada dama, capaz de freqüentar as mais Ziegler. Música: Frederick Loewe. Produção: Jack L. altas rodas da sociedade inglesa no início do Warner. Elenco: Audrey Hepburn (Eliza Doolittle), colaboração realização A Rex Harrison (Prof. Henry Higgins), Stanley Holloway século. Com músicas compostas por C I (Alfred P. Doolittle), Wilfrid Hyde-White (Coronel Frederick Loewe, este musical foi premiado N Hugh Pickering), Gladys Cooper (Sra. Higgins), Jeremy com oito Oscar. C É E Brett (Freddie Eynsford-Hill), Theodore Bikel (Zoltan T S Karpathy), Mona Washbourne (Sra. Pearce), Isobel P A Elsom (Sra. Eynsford-Hill). O H N C patrocínio I I F S www.contracampo.com.br www.estacaovirtual.com Professor Higgins (Rex Harrison) é um pesquisador dos diversos sotaques qual os ricaços cantam como estátuas, e cavalos borram a da língua inglesa, com certo desdém por aqueles que, segundo ele, tela. Um momento estranho ao próprio filme, mas que tem empobrecem a nobre língua graças às mudanças fonéticas praticadas na tudo a ver com o cinema de George Cukor. Um delírio região de onde vieram. É capaz de distinguir o sotaque dos diversos filmado com artificialismo (cenário descaradamente irreal, bairros londrinos, às vezes de ruas específicas. É também um jogador nato, como se existisse em uma outra dimensão) e irreverência o que faz com que se refestele com a possibilidade de dar bons modos a (no meio da seqüência, Higgins equilibra uma xícara em uma florista inculta e grosseira, o que é encarado como um desafio. sua cabeça). Um dos grandes momentos do filme. Despreza os aculturados, sendo, portanto, pelo menos à primeira vista, um Eliza não é desmascarada durante as corridas. Pelo personagem antipático. contrário, ganha até um admirador, o que sugere que Eliza Doolittle (Audrey Hepburn) é a florista, que um dia descobre, graças nesse momento em específico vemos se confirmar a ao professor Higgins, que seu linguajar é chulo e indigno. Inculta, mas submissão da objetividade narrativa à visão romantizada perseverante, ela vai atrás de conhecimento, batendo na porta do de Eliza. É ela que comanda, a não ser no momento final professor e oferecendo seus pobres centavos em troca de umas aulas. da seqüência, quando ela torce para o cavalo: "Move your A Quer saber falar e agir como uma dama. Sua transformação, que parecia blooming arse". Frase que leva o professor e os presentes impossível, se dá em um estalo. Um lampejo, que lhe permite mudar de do choque ao desespero. M status social. De uma hora pra outra ela é capaz de impressionar nobres Mas o pretendente continua firme e forte. Em sua canção, em um baile real, assim como enganar um outro pretenso expert em A temos mais um exemplo de apropriação operada por sotaques. Era e continuou sendo uma personagem simpática, portanto. D Cukor. Desta vez a ordem é a zombaria. A rima seria "and Higgins é um solteirão convicto. Sabe que sua pompa britânica iria por I never saw a more enchanting farce" com "move your terra diante de uma mulher que o conquistasse. Eliza é, como manda a blooming arse". Mas o "arse" é calado pela governanta A cartilha, uma moça sonhadora, que quer ter uma duradoura relação com que abre a porta. O pretendente é o apaixonado L seu príncipe encantado (posição que pode, por oportunidade, ser galanteador como visto por Eliza durante as corridas, ou E ocupada pelo professor). O previsível acontece e eles irão se envolver, um trouxa que aceita ser enganado e pagar um mico B mas essa previsibilidade, longe de abalar o encanto do filme, deixa-nos virando poste na rua à espera dela, como o visto no livres para apreender melhor as nuances que o diretor Cukor soube número musical? trabalhar muito bem. A E não deixa de ser interessante que um outro filme, Em primeiro lugar, temos o musical, e como esse filme dialoga com os presente nas canções, lute para se fazer soberano. É desse H outros filmes do gênero. Talvez o ponto de contato mais próximo, embate que o filme tira sua força. Como na cena do N excetuando Les Girls, do mesmo diretor, seja a obra-prima de Vincent telefone sem fio durante o baile real, que termina com a I Minelli, Agora Seremos Felizes. Em ambos a música surge como sonora risada de Higgins. A música acompanha a comentário do que se passou, mas sem o deslumbramento imagético e o mensagem sendo levada de um nobre a outro, e que chega M nonsense dos filmes de Stanley Donen e mesmo dos filmes posteriores de ao conhecimento do professor como um fonema – Minelli, ou as fulgurantes coreografias de Busby Berkeley. Agora Seremos dissonante. A mentira será perpetuada. A risada de Higgins Felizes é considerado o primeiro musical onde a música surge como parte nos leva à cena seguinte, quando todos comemoram, integrante da trama do filme. Seus raros números musicais comentam o cantando, o brilhante feito. Não percebem que Eliza está Y que se passa e fazem avançar a narrativa. My Fair Lady, feito vinte anos triste, por não ter seus méritos reconhecidos. Ela não canta, D depois, vai mais longe e usa os números musicais como contraponto não faz parte da festa. Para ela, tudo foi um excelente irônico da ação. Há, principalmente, uma preocupação em delinear os aprendizado, e o despertar de um relacionamento. Para ele, A personagens através das canções. O que vemos no restante do filme são apenas mais uma prova de sua genialidade. e L r personagens filtrados pelo ponto de vista de Eliza. Assim, só temos uma d O filme assume o ponto de vista de Eliza. O próprio título n visão objetiva do Professor Higgins quando ele canta, ou melhor, fala e R já sugere um ponto de vista fantasioso. Nos créditos p cantando, sem a presença de Eliza em cena. Só aí vemos como é sua I l iniciais, tudo o que se vê ao fundo são flores, A verdadeira personalidade.
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