Garrincha - Alegria do Povo - Joaquim Pedro de Andrade

Joaquim Pedro de Andrade (regista di "Macunaima", qui) racconta la vita di Garrincha, in un film documentario di un'ora.
se uno non sa niente di calcio e crede che non sia interessante, se uno ha sentito parlare di Garrincha, ma non lo conosce, e non ha visto i suoi dribbling ecco il film per superare pregiudizi e colmare lacune - Ismaele

qui il film completo, in portoghese

…Considerato oggi uno dei migliori documentari sul calcio mai realizzati in Brasile, la pellicola non fu apprezzata da parte dei contemporanei. Secondo il critico Antônio Moniz Viana il film sarebbe stato realizzato da "qualcuno a cui il calcio non piace". Ciò fu dovuto al fatto che esso mostrò il rapporto del protagonista con tale sport non solo nel suo aspetto meramente ludico, ma anche come fonte di problemi. Questi sono determinati dalla sovrapposizione della figura dell'"idolo" a quella dell'"uomo", con conseguente produzione di un effetto alienante. Tale prospettiva è dovuta alla chiave di lettura politica con cui Andrade, cineasta impegnato, interpreta il personaggio…

da qui

…O próprio nome do filme, referência ao histórico coral Jesus, alegria dos homens, de Bach, sugere o uso da música erudita. Muito ao gosto de Joaquim Pedro, ela aparece em certos momentos para compor algumas das passagens mais belas do filme. Uma delas é a digressão sobre os motivos da paixão popular pelo futebol, com imagens das arquibancadas acompanhadas por um concerto de órgão. Em outra passagem – talvez a mais criativa do longa – a música erudita transforma tomadas simples de um treino do Botafogo em um verdadeiro balé clássico. Essa inteligente justaposição de som sobre imagem revela o amplo domínio de linguagem do autor Joaquim Pedro…

da qui

Garrincha, Joy of the People is an affectionately rendered and thoughtful, if somewhat idealized portrait of Manoel Francisco dos Santos, affectionately called "Garrincha", the Brazilian football star considered to be one of the country's greatest players ever, second only to soccer legend (and former team mate), Pelé. Nicknamed Garrincha - "little bird" - for his awkward stance resulting from a birth defect that produced a sideways curvature of his legs, Garrincha is a quintessential working class hero - a native son from the impoverished textile mill town of Pau Grande whose mediocre job performance at the factory was overlooked only because of his ability to lead the local team to victory during weekend competitions. Assembled as a collage of still photographs, newsreel archives from the 1958 and 1962 World Cup tournaments, and present-day documentary footage of Garrincha's modest home life with his wife and daughters in his boyhood town (a house that was given as a gift by local businesses after his performance at the 1958 World Cup finals), the film also serves as a whimsical metaphor for the essence of Brazilian culture, where the everyday drudgery, alienation, and competition inherent in urban existence gives way to the fleeting escapism and solidarity of a national sport - where the erasure of indigenous identity and the pressures of modern civilization in the delusive quest for a post-colonial European ideal is briefly trumped by the idiosyncratic sight of a quirky, superstitious, simple living, native footballer with crooked knees and killer dribbles.

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Macunaíma – Joaquim Pedro de Andrade

ispirato a "Macunaíma", un romanzo di Mario de Andrade del 1928, questo film è uno strano e gran bel film.
dentro c'è il Brasile del sertão e quello della metropoli, c'è la dittatura e la guerriglia, c'è mito e realtà, e anche surrealismo.
davvero un film che apre un mondo e che guardi a occhi aperti, come dice qualcuno (qui) è un film unico, che unisce Gabriel Garcia Marquez e Benny Hill, con lo sguardo satirico di Dusan Makavejev.
provare per credere - Ismaele

QUI il film completo (con sottotitoli in francese)

…Deals with racism, a black inferiority complex, lazy, repressive, corrupt or violent society, and many other things that probably only Brazilians are likely to get. Cartoonishly silly and absurd surrealism.

da qui

…Using cannibalism as a metaphor for the evolution of Brazilian culture as a consequence of exploitation in the aftermath of colonialism (of national resources and the subjugation of people), capitalism (of workers in the pursuit of profit), and imperialism (of industrialized countries in their economic domination over underdeveloped nations) - in essence, the dynamic consumption and assimilation of other cultures into the forming of an indigenous, often contradictory national character - de Andrade creates a droll and absurdist tale on urban alienation, essential identity, and the irrepressibility of the human spirit…

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The spiritual traditions all have a role for the prankster — Nasrudin in Sufism, Coyote in Native American spirituality, the Holy Fool in Christianity. These minstrels of madness want to drive us out of our minds, knowing that from there we will see things from a different perspective. Maybe we will realize that we are not in charge and that play is a way to relax a bit and let go of our habitual ways of being in the world. In some Indian tribes, these crazy ones are called sacred clowns. They take on animal forms, disrupting solemn proceedings with their bawdy antics of wild sexuality.

It's good to keep such masters of revelry in mind while watching this 1969 Brazilian movie written, directed, and produced by Joaquim Pedro de Andrade. This robust comedy includes elements of buffoonery, satire of studio movies, political commentary, and a quest motif. The only way to make it through all the zany twists and turns and silly moments is to let your inner child take over for a while. Put aside your critical consciousness and go with the flow of the comic bits, the outrageous shifts, and the Dionysian rhythms of the story.

da qui

…director Joachim Pedro de Andrade lacks filmmaking expertise, he slaps together a hodgepodge resembling Gabriel Garcia Marquez by way of Benny Hill, with loads of campy laughs, slapstick humor, and a plot as mind-bogglingly satiric as Dusan Makavejev (SWEET MOVIE)…

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…Which is not to say that the film, adapted from a 1928 novel by Mário de Andrade (no relation to the director) is lacking in seriousness. Underneath it all is a meditation on the riddles of Brazilian identity and the agonies of Brazilian politics. In 1969, Brazil was in the grip of a military dictatorship, and "Macunaíma," one of whose minor characters is a sexy urban guerilla, hums with a joyful and pointed anti-authoritarian spirit.

In the first scene, the hero, Macunaíma, drops fully grown from his mother's belly onto the dirt floor of a hut in the Amazon. There he is raised alongside two brothers, one black and one white. Eventually, Macunaíma, who is born black, turns white himself, a transformation that, in keeping with Brazil's complicated racial ideology, is at once enormously important and completely meaningless. The hero finds his way to São Paolo, where he dresses in marvelously (or hideously) bright clothes and takes up with the lovely guerilla before returning home to his mother. In the course of his odyssey, he encounters witches and giants, episodes that turn "Macunaíma" into a raucous and hallucinatory fairy tale. Its infectious craziness stays in your mind like a novelty pop song that, after a while, starts to sound like a classic.

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