Humberto Mauro (2018) - full transcript

A documentary-tribute to the filmmaker Humberto Mauro considered the pioneer of Brazilian and Latin American cinema, directed by his grandnephew, André Di Mauro.

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1BDO South Volta Grande calling, 1BDO


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5 A I M

Nature issue

There are moments of nature

that if you do not shoot,
you will not shoot anymore, ever.

will never present itself again in the same way.

I like nature in any way,

with rain, without rain, with fog, with sun

the night, the light of the moon

we have to surprise the nature

I for example when I go to shoot a waterfall

I do not film so immediately

I hide behind a banana tree or something like that

for the waterfall not knowing that it is being filmed

Otherwise the water will start to fall different

I was born on April 30, 1897

3:15 a.m.

And I went to Cataguases

And there I did an electric tramway course

by correspondence

My grandfather said

Humberto graduated in the bedroom

The cinema came a long time later

I always liked photography

I went to the cinema there in Cataguases

Because of photography

We were seen as crazy

And we are still, until today.

a little crazy.

We even imagine doing gliders

There were hills there,
and we were going to fly over Cataguases

I talked to them.

So, in this case, let's make movies.

In the "lost treasure" I felt much difficulty

Because I had to play the villain

My wife played the role of the young heroine

My brother Chiquinho the hero's role

Even our dog worked too

But Mauro, what was the
cinematographic environment

of Cataguases at that time

the cinematographic environment
of Cataguases did not exist

The cinematographic environment was me.

It was me, Mr. Pedro, and my family.

in my family everyone supported me

There were times when my family and
I suffered from hunger

I've always made the cinema truly regional,

I can be from Minas Gerais and be a national

just as I can be national and universal

Universalizing a Brazilian theme,

I can universalize a theme

I can make Brazilian a subject of Minas Gerais

So many people to eat,

only me to crush.

So many people to eat,

only me to crush.

So many people to eat,

only me to crush.

So many people to eat,

only me to crush.

So many people to eat,

only me to crush.

So many people to eat,

only me to crush.

So many people to eat,

only me to crush.

So many people to eat,

only me to crush.

But in many parts of Brazil
there are still primitive sugar mills

like the one whose names made
dreaming and inspired songs

When progress advance through the fields

and modern agricultural properties are built, everywhere

It is in the old farms, in the rural area of Minas Gerais,

where are nested, a little of the customs,

the tastes,

even the life of our farmers great-grandparents


what happened, It's not my fault

it came very strong rain

and carried the handkerchief

what happened, It's not my fault

it came very strong rain

and carried the handkerchief

I've been following the river


As the lambari does


Looking for love from afar


that the love that was near I already lost


Progress is anti-photogenic

It is anti-photogenic

But why?

Because this is something
I've been observing for a long time

For example, the water wheel,

the water wheel has a beauty

an extraordinary photogeny

that slow roll,

the mosses

the water beating with the sun

a beautiful photograph

You change through a wall of concret

It's not good.

You take an ox car

and put it on top of the hill with the sky behind.

Progress is anti-photogenic

It is anti-photogenic

But why?

Progress is anti-photogenic

It is anti-photogenic

But why?

The water wheel stopped

and the poetry left with it

I, for example, never studied that film movement

how to do continuity and this kind of thing.

these men who know

who studied in courses in Europe,

in all these places, in Italy

I'm going to shoot with the spirit of the sequence

here I have to do that or that

at that moment it's as if I'm writing

It's my process, different.
I think nobody does like this

It seems that it is born in the person

a crazy thing It's already inside you.

Michelangelo said that

the sculpture already comes inside the block

you just have to hit with the hammer

that is coming out

I usually say that the film is already inside the machine

Is it within you?

Yes, it's inside.

just put it in focus

fix things, push the button, it comes out.

one day progress brought steam

from the beginning there was difficulty

with exhibition of the movie

The Lost Treasure we managed
to show here in Rio de Janeiro

one day at 10 pm in Mr. Pinfield's Central Cinema.

My brother Haroldo wrote me a card like this:

Victory! Victory! Victory!

Pinfield will pass the Lost Treasure

For the colony of Minas Gerais at 10 pm in the Central

all production generates loss

what will generate profits is the exhibition

And those films managed to pay the money spent?

The "Lost Treasure" paid,

all of them were paid, but they only paid the expenses

The Lost Treasure was produced by a company

What we founded in Cataguases,
called Phebo Brasil Filmes

Distribution, trusts, that ruins everything.

Until today, we're struggling with it.

For example, if someone tells me

Mauro you need to make a movie

I say I can not

to get the money borrowed

I have to write everything correctly

and I have to send the person

he person reads and says: no, this is not good

terrible complication

Dr. Roquete Pinto said that Brazilian cinema

will never leave the "more or less"

While we can not use film in large quantity

the person without the freedom of creation and realization

can not do nothing

you can not give a single sheet of paper for an architect

to do a project

If the paper ends, what will it do?

He is going to say: I need another paper

Oh god of Aimore,

you turn to us.

your faithful tribe

all is prostrated to you.

prostrated only to you.

And arriving here in Rio, Mauro...

I came to Rio Gonzaga invited me.

had a very good argument for
the movie Lips without Kisses

It was a comedy

we became friends

so I told him I had made a movie

"In the spring of life", I brought here for him

There was a moment when
he even wanted to go to Cataguases

to work there

but it was the opposite, I came here to Rio

He was one of the men who most
stimulated my intelligence

and opened my mind to the movie movement.

Gonzaga knows a lot of cinema. Very sincere.

However, Georges Sadoul, whom you quoted

He says I'm a great filmmaker

it is his opinion, in particular.

but what I like the most

is that precisely because of him being a historian,

a connoisseur of all the great movies

of all the styles and of all the great directors

He says I have my own style.

that I have no influence from anyone.

It is very important for me

Because I thought was influenced

by these great American directors

and Germans, of the time

Did you start reading books about movies?

No, I did not read

It did not exist.
What book existed about cinema at the time?

It should be magazines, interviews

James Cruze, for example, read a lot, his interviews

The James Cruze was one of those very simple men

and I thought cinema is simple

that there is no difficulty

But did you study analyzing the movies?

Did you study analyzing the films you saw?

To be able to form your personal experience?

Yes, I was studying.

But did you watch the movies more than once?

Did you watch these films more than once?


just once.

just once.

Our biggest concern was the framing.

No other way, it was necessary to have a beauty

Otherwise, how would I frame it?

If you say it's horrible, we do not shoot.

We studied on our own

all these subjects

that language they call punctuation in cinema

the fade out, fade in, fusion

all this is in the Lost Treasure

And you made a telephoto lens?

The telephoto lens.

With a tube of milky flour.

painted black inside.

The fade out in the movie "Lost Treasure"

we made in the diaphragm

I divided the argument into sequences

sequence from the office

then to the sequence of the horseback ride

and so on, for the other sequences

and each sequence then... what I call scenario

is the unfolding of each sequence in the shooting plan.

Because scene in cinema is
different from scene in theater

in the theater, they say,
that's when the person comes in and out

in the cinema stopped the machine,

another scene comes,

I call it scenery .

This scenario I always did improvising.

I ripped my dress.

I ripped my dress because of you.

Ganga Bruta started in 1932 and ended in 1933.

we stayed two, three months without filming.

Waiting Gonzaga get money to make the movie

because he did not have the money either

after a certain time, arrived two rolls of negative

We celebrated, great two negative rolls

And the actor was fatter than before

it was a trouble

Sisters and mothers always bothered me at the movies.

They always bothered me.

For example, to show half a span of the thigh

I need to do a round table discussion

Why not, or why, yes,
it is necessary, it is not necessary

Dona Nene, I apologize, a great lady.

was the sister of the actress Dea Selva

always controlled this matter related to clothing

told her, you come with a light dress

Because it will fall into the water,

and I wanted the body to be marked

Because it was there that Durval saw that

that awakened in him that sensual movement

Because until that moment

he was not seeing any of this in that girl

And then

Dona Nene brought a clothes

that not even with all the water of the Bay of Guanabara

was able to wet it as it should

to leave the dress marking the body

What have you done today Januario?

What I did today?

Yes, what have you done today?

Today I made a scandal there in the town hall.

and I walked there by the hacienda screaming like crazy

Acting. Yes because now I am acting.

Well my friends

the moment is solemn, it's not for jokes

I will give the people the knowledge

of the Agricultural Recovery Alphabet

And I do it with satisfaction.

Because this alphabet was supervised by myself

and carefully compiled by the PLI

PLI, PLI, Januario! PLI, PLI, Januario!

PLI, PLI, Januario! PLI, PLI, Januario!

My friends, making the film "The Song of Longing"

I had the purpose of paying homage to
the people of Volta Grande

who also collaborated in the making of the film

and my parents and my grandparents

who were born and lived many years in that region.

had an ox-driver, an employee of a farm

who was in love with a beautiful brunette

This girl liked him too.

but it was a brotherly passion,

a platonic love

So she marries another man

He was in love, he was so sad that he disappeared.

But how did he disappear?

I do not know, he disappeared.

They did not kill him, did not die,

was not killed or committed suicide, disappeared.

Well, but I've been listening, and a lot of people listen,

In the afternoon, in the cane plantation,

when the wind blows, his accordion is heard.

Zum, zum, zum

In the middle of the sea

Zum, zum, zum

In the middle of the sea

It is the wind that delays us

It is the sea that disturbs us

To reach the port

Zum, zum, zum

In the end when he disappears

Cinematographically, I did it this way

The colonel arrives on the balcony.

But what a beautiful afternoon.


Hey Galdino!

Hey Galdino!

So I film the landscape empty

I make a fusion, with another landscape

and he shouting: Hey Galdino!

another fusion with a long shot

Hey Galdino!

another "long shot", far away, with the sun disappearing.

Hey Galdino!

And disappeared.

It's a way of ...

You guys are critical and you did not talk about that.

I was not critical at the time of The Song of Nostalgia

Oh no?

But the movie is there, you can see and talk.

Here is the alphabet my friends


"A" assist and augment

"B" benefit, breaking the hight prices and insinuations

that could hamper the progress o
projected accomplishments

A, B, C...

C, construct and cede loans to farming

and if possible without interest

A, B, C... D

Disseminate agricultural knowledge!


Agricultural, Janu?rio! Agricultural, Janu?rio!
Agricultural, Janu?rio!

And this is not enough?

Not enough! Not enough! Not enough!

Attention! Attention!

I'm asking my friends. Is not that enough?

Not enough! Not enough! Not enough!

Please stop! Come on! Please excuse me,

You had to say enough,

and I'm going to say it is not enough.

Otherwise, you spoil the end of my platform completely.


Enough! Enough! Enough!
Enough! Enough! Enough!

You're saying enough
but Colonel Janu?rio says: it's not enough!

Is not enough why?

Because I will give you more!

I'll give each one of you ... Take note ...

I'll give each one of you...

Home, food and washed clothes!

Home, food and washed clothes!

New mill, new mill, new mill pushes the wheel to spin.

New mill, new mill, new mill pushes the wheel to spin.

Then began to come these boring documentaries

with the guy talking forever ...

The guy stays out of his life and shows nothing.

It's that boring guy talking,
bi bi bi, bo bo bo bo bo, ba ba ba,

that you do not understand anything.

Here comes an old man talking,

suddenly it's a child talking,

It's suddenly the talking teacher.

The guy was supposed to show things,

And let the person talking in the background

What do you think?

I never put anything on paper in my movies,


It had no script, I mean, some had,

on the other hand,

In case the script is only to follow

follow the story.

But there are other things

low-angle shot, high-angle shot, plong?e, details...

You do at the moment, my friend.

Filming right at the first shot, or did you repeat a lot?

It was repeated as long as I could.

I had a person with me who was marking the repetitions

And there came a point that I said,

I only can do one more repetition

because this scene is already on 850 cruzeiros

and I can not spend more money

When I left Cin?dia,

I was in a tremendous situation,

that's what I say, Dona B?be,

always firm., there holding on.

Sleeping on the floor.

Suffice it to say that this my daughter Martha

who was born here in Rio,

My lady was in pain

and I had to knock on the door of Mr. Trancoso

a baker my friend who lived near, in the corner

to arrange with him fifty thousand reis loans

to fetch the midwife..

I owed nine months rent.

Truly eating more cheese than anything else.

So I made a movie here at the Samples Fair

for Lourival Fontes.

I did it to get some money.

It was a darned success there at home.

I paid the house rent,

I paid several things.

There was the old lady in her place

came the fly to do wickedness with her

the fly on the old lady and the old lady to spinning

there was the fly in its place

the spider came to hurt him

the spider on the fly, the fly on the old lady

and the old lady spinning.

there was the spider in its place

the mouse came to do wickedness with it.

the mouse in the spider, the spider in the fly

the fly on the old lady and the old lady spinning

From 1936 to here

my life was limited

to working exclusively at the
Institute of Educational Cinema

the cat in the mouse in the spider, the spider in the fly

the fly on the old lady and the old lady spinning

And you did these two hundred and forty movies?

Yes, I was invited in 1936 by Dr. Roquete

to collaborate in the foundation

I accepted, as I said, because I was sure

to be collaborating in a work of creation.

National Institute of Educational Cinema

Department of Educational Film


So I went with Daddy.

I started there at INCE since I was young.

Zequinha I think he is a formidable operator

Both he and Luiz.

Luiz is a little more daring than Zequinha,

but they helped me a lot.

And he and he got the idea of making these series,

so he made one for the experience

with only one lens, only one filter, with that bad tripod.

"The Little House"

Do you remember the little house,

where our love was born?

Do you remember the little house,

where our love was born?

It had a coconut palm on the side

What a pity for longing

has died.

It had a coconut palm on the side

What a pity for longing

has died.

The Discovery of Brazil has these things.

All the music is by Villa-Lobos.

At the time it was the most expensive film

Brazilian film made until that moment

It cost about 600 contos

Those caravels were even built

Two caravels, the sailing caravel was complete,

The other was made in half,

was mounted in the studio of Cin?dia

To make the interiors

As the scene of the visit of these Indians

the others were miniatures

In the Discovery of Brazil I played violin

under the regency of Villa-Lobos

He was waiting for the violinist.

I had to record some kind of fado

I told, maestro, I play the violin.

But the only thing I had to do on the violin

was play the note D

Only one note .

The guy was doing it there.

And he said: now!

And I played D

Land! Land! Land!

Land! Land!

When I went to Venice I took 3 movies

Two from the Institute, Vit?ria R?gia
and Sky of Brazil

And I took the Discovery of Brazil,

but was shown out of competition

because it had already been shown in Portugal,

but they liked it

I was in Italy in 1938 representing Brazil

I was the first person to represent Brazil

at an international film festival, at the Venice Biennale.

I accept these things in the certainty of being representing

A large group of pioneers that we have to respect

It must be known that Dona B?be

was a heroine in this film movement

Me and Bebe were taken in Cataguases
like the Romeo and Juliet

And we are still to this day, but older.

Applying a verse by Longfellow

Dona Bebe has been for me
the rope that stretches the bow

for the arrow throw

Isn't that beautiful?

Beautiful, it's beautiful.

I was born in Volta Grande,

Volta Grande when I was born in
the district of Al?m Para?ba

Today is city. Small town

And your full name?

My full name is Humberto Duarte Mauro.

And your parents?

Duarte is from my mother.

My father was Caetano Mauro

he was Italian,

he was an autodidact engineer.

He came here to Brazil very young, still a child

And that's why they say you're Italian-mineiro

Blood Mineiro


My mother was from Minas Gerais,

Tereza Duarte

So that my name is Humberto Duarte Mauro.

And my grandmother from Italy was Mazzei's family.

so that when I started to make movies

The first movie I did Spring of Life

My name was Reinaldo Mazzei

The Adhemar Gonzaga is what he said,
take the Mazzei out

Use your name Humberto Mauro

Then from the Lost Treasure onwards

I used my real name: Humberto Mauro

45 years of cinema,

11 feature films,

230 short films and half-length films

a career started in the heroic phase
of Brazilian cinema

In silent movie time.

National and international recognition

Soldiers of Brazil,

fulfilling what it promised,

we came today in a public and solemn act,

The Brazilian government has just declared war

on the Axis nations.

Large crowds celebrate

with the most diverse patriotic demonstrations.

The parade of Brazilian military units
in the capital of the republic

"Challenge and outrage to Brazil"

"All the armed forces of Brazil in offensive"


The ox-cart whose origin is lost in remote epochs.

It still has valuable use.

And it is often a paradox

to turn on, better than anyone, humble but invincible,

the machine of progress

Hello, PYL4 AXB, 4AXB, 4AXB

PY 1BDO calling

At first he was a kind of King

Throughout the vastness
of the fields and mountains of Brazil

PYL4 DO Cataguases

Here is citizen 1BDO

Go to frequency

It is a specter of the brave and cheerful singer of

Your singing is just an echo

a longing in infinity

PYL4 DO Cataguases calling.

1BDO South Volta Grande,...


1BDO called and is on the frequency

Maybe there's a great-grandson

or great-great-grandson in the year 2020

Maybe he's already gone to the moon.

And certainly filmed the Earth there from the Moon,

one thing I wanted to see,

And you've seen it, haven't you?

I wanted to know, if, in fact, it is blue?

Because one of the most beautiful statements
I have ever seen

of these astronauts. It was from Gagarin

that he says: Earth is blue!

I have many letters from my friends at home,

That say: Humberto, you need to come
and film here on my farm.

I have a waterfall that is very beautiful.

They all say: "I have a waterfall that is truly beautiful."

And I then concluded, that waterfall is cinema,

the guy who sees a waterfall thinks soon of cinema,

cinema is waterfall.

After all, you're the man who planted the roots.

You're the man that what?

You're the man who planted the roots
of Brazilian Cinema.

And we will see if, the obvious,
if the life that existed in these roots,

and they are very much alive,

those roots of the cinema that
you have proposed and propose

I think it's a very lively thing that your cinema,

I think you might be the most
lively thing in Brazilian Cinema.

Thank you very much.

That's it.

White waterfall, white waterfall

There I go fishing. There I go fishing

Planting in fertile soil,

White waterfall, white waterfall

Spoon peace and love.

White waterfall, white waterfall

Planting in fertile soil.

Spoon peace and love.

Love each other

Respect the earth

Love each other

Rescue the land without evil, paradise

White waterfall, white waterfall

Make man, make tree

Make happy, honor, praise

There I go fishing. There I go fishing

White waterfall, white waterfall

Progress is anti-photogenic.

It is anti-photogenic.

There I go fishing. There I go fishing

Planting in fertile soil

White waterfall, white waterfall

Spoon peace and love.

There I go fishing. There I go fishing

Planting in fertile soil.

Spoon peace and love.

Love each other

Rescue the land without evil, paradise.

I have great esteem for the Brazilian youth,

And I really believe in what they can do.

To the young filmmakers.

I wish that you truly accomplish

A great movie work

So that Brazil has an ever better tomorrow

Oh sunny morning

Anhang? ran away

Anhang? hey hey

Ah! It was you,

who made me dream,

to cry my land.

Guaraci, hey hey.

Anhang? ran away

Oh Tup?, god of Brazil.

That the sky fills with Sun,

with stars, moonlight and hope

Oh Tup?, take this miss from me.

Anhang? made me dream with the land I lost.

Oh sunny morning

Anhang? ran away

Anhang? hey hey

Ah! It was you who made me dream

to cry my land.

Guaraci, hey hey.

Anhang? ran away

Oh Tup?, god of Brazil.

That the sky fills with Sun,

with stars, moonlight and hope

Cinema is waterfall

So that's it.

But since I'm talking to posterity

I need to list these people all.

As number 1 I put Dona Bebe, as I already said

my father, my brothers, especially Haroldo

Homero, Agenor, many friends of Cataguases, Paschoal

Then Gonzaga, M?ximo Serrano,

Then at the Institute comes Dr. Roquete

And in the Institute there is also Manoel, Mattheus

Zequinha, my son and Luiz,

are the only two who dedicated themselves to cinema

Erich Walder and a lot of people

Me, it's a soul from the other world that's talking here

But I send my blessing.

I hope to be in heaven.