Rio, Zona Norte (1957) - full transcript
A talented songwriter of sambas is forced to face the social injustices of the city around him.
What's it, Figueiredo?
Here I am.
Attention, folks...
Since the great Alaór da Costa can't come...
...I bring you the radio star ...
Mauricio Silva
...who'll speak for him...
Thank you, my friends.
The great Alaór da Costa can't come...
...as our friend here has said.
But Alaór
sends you through me...
...his best greetings to all.
And I always at the side of the real "sambistas"
I am here 'cause the "samba" must always be
praised!
And long live the Samba School
"Unidos da Laguna"!
Sing the "Dama de Ouros"
Drink this.
Maurício!
Nothing done. Nobody liked your "samba".
Is this "samba" yours also?
It's my pleasure to meet you.
I'm Fspírito da Luz Suave
at your service.
Terrific!
Your "sambas" are fabulous!
I'm a composer also.
We're colleagues.
Recorded already?
No.
Me neither.
My concerts and symphonies are still in the
drawer.
Brazilian music has no luck.
But you have a Iotof merit.
- You're amazing!
- No, no...
All that's yours is good, you know?
Yeah, a lot of heart in it.
Sing another one.
Have you some more?
He can sing all night long, there's plenty of
"sambas".
Now it's enough.
I'm so tired!
What do you do for a Living?
Can we know?
Sort of.
Some odd jobs.
To earn my Living I do worse...
I play violin.
Anything the people ask for.
Twenty years of study to become that!
Aviolinist!
Starting to be dramatic?
Isn't it true?
Is it or not?
Yes, it is.
If you need me, you can count on me.
You've a fortune in your head, boy.
Must take it out from there.
Count on me.
Your musics...
How is this "samba"?
Just a minute.
This one is tops.
This music gets into everyone's head.
Fspírito sing the beginning of it.
Right there.
Instead of "parting" sing "running away".
Try it this way.
See? Much better that way, right?
Car is leaving.
To those staying, good night.
Wait.
Then it's settled, right?
I'm at your service.
You drop by tomorrow.
I'm humbly at your service.
Well, Moacir, thank you.
Good night.
Come to the radio-station tomorrow.
I've a something for you.
My brother!
Cool!
Good night.
If you want
we can walk along with you.
There's no danger anymore.
See you tomorrow.
You didn't notice,
but when you were singing...
...he kept staring at you.
He liked your sambas very much.
All right, Cracinda
I'll go there tomorrow right away.
I'll ask Mr. Figueiredo to give me free time and...
Will he introduce you to Ángela Maria?
He surely will.
And she'll be recording
all your sambas, right?
Look, "I don't want to die now"
is right for her voice.
Is it you, Pa?
I was taking some measurements.
Tomorrow I'm gonna saw some planks at the
factory.
It's growing up. Right, pal?
Yeah.
I think that in about 5 Sundays more...
...we'll cover the first floor.
Your place.
Fspírito's small bar
We must find a name for the shop.
No, my goddaughter.
What I need is
to arrange money to buy goods.
Nonsense, pal.
Mr. Figueiredo has promised to advance
some.
And there's a guy in the "samba school"...
...who said he's gonna help godfather.
He'll introduce him to Ángela Maria...
He'll record many "sambas"...
and make big success and big money.
Calm down, sweetie.
Business is not so easy.
Anyway, our little shop is gonna work.
I'll be even able to take Lourival out of the
asylum.
It will be a life-start for him...
...to take care of the shop during the day.
Right, Honorio?
I think so, pal.
I think so, pal.
Now the Judge can't say...
...you haven'ta profession.
Good night, pal.
See you tomorrow, Honorio.
Blessing, godfather.
Cod bless you.
Can I stay here today?
Then the wound grew in size.
It was a very small sore in the beginning.
But I know a guy...
...who lost hist'ro legs
in a train accident.
Did I pick up everything?
There's one on the other side.
There, look.
You could pick that up. Might be some
document.
Let me see.
Without it there won't be no more "samba" on
the hill.
It's all "samba" lyrics
Don't touch anything.
This is mine.
At what time did he fall?
More or less at 6.
6:30
It was past 6 when he fell.
We got there quickly and took him away from
rails.
Now we're waiting for the ambulance.
What else?
I've advised the station agent.
Help is coming.
I'll go check.
These are the papers he Ietfall.
Putthem back in the same place.
Patrol 35 calling Central.
PIease insist sending
ambulance to the site.
Someone is seriously injured.
Hello, SouzaAguiar Hospital!
Hello, SouzaAguiar Hospital!
We reinforce ourrequestfor an ambulance...
...to help a seriously injured man.
Hallo, attention.
Here is ambulance 11-76 speaking.
We're Ieaving in a few seconds.
Doctor...please...doctor...
Justgive him plenty of milk.
Nothing else?
No.
And there's no danger?
No.
Don't give him milk no more.
He has a bad Iiver.
Victim identified yet?
No documents.
Central calling patrol-car 35.
Petrol-car 35 Iistening.
Assistance will be finished atthe site...
...if Central agrees Ieaving the case to the
Railway.
Okay, agreed. Patrol-car 35 move on to next
mission...
Roger. Patrol-car 35 will proceed.
Stop with the bad omen, Iady, forgetthe candle.
May we two come in?
Is that your only Iuggage?
This was all thatson-of-a-bitch Ieft me.
Little doll, come to daddy, come.
Come to daddy.
He's so cute!
Oh, he's so cute, Adelaide!
So cute!
Seems you never saw a kid.
This one is beautiful.
What happened to yourfamily?
Mywife died.
She was a good companion.
Died when Lourival was born...
I've been single for 15 years.
Who most suffered was Lorival.
The Judge decided I couldn't keep him.
Fairlythinking, I couldn'treally, you know?
I had to Ieave him
everyday in the back yard.
His back yard was in fact
the whole hill-side.
He probably is a good scoundrel.
And this one
here what's he'II be?
I'm Iate.
And the Iandladywill have a fitif I take this kid
along.
You won'tneed to take him.
Poorthing.
What's his name?
CIaudio.
But he hasn'tbeen baptized yet.
Notyet?
We'II take care ofthat.
We'II take care ofthat.
Come here.
See that?
In a shorttime I'II have a new house.
My mate will Iive upstairs
and I'II tend the bar
and have two rooms downstairs.
There'II be plenty of space free.
Ifyou wantto, Adelaide...
Well, what did t bring the "Iuggage" for?
Cracinda, you'II take care of CIaudio, okay?
Why this Iook of amazement?
Can't I marry again?
I'm going.
What does he eat?
Anything will do.
Mr. Figueiredo, I...
Yeah, I know what's up.
Yeah...itjust happened, you know.
I'm married again.
Well, Mr. Figueiredo
I've a Iittle problem...
Can I make the payments tomorrow?
Okay.
Well, one more thing...
I'II eave mywork for tomorrow...
...but I would need the paymentfor ittoday.
Could you advance me some?
Thiswill do?
Yes, Mr. Figueiredo.
It's justto go down and "work" my "samba".
Then, ride down in the truck.
Wows I'II surely do that.
See you tomorrow. Thanks.
Is Honorio here?
In the back. Come in.
Hold the fort.
This won't do, Fspírito
he's been spanked too much.
BIess me, pa.
ÉI quería ir a São Paulo
Should go back to the asylum.
Maybe he gets work.
I can't come back!
Son, why did you run away?
Yourtime was nearly over.
I had to run away with the gang.
Putthis on.
I've only those $ 500.
It's forthe planks.
Howwill you Iive in Sao Paulo?
I'm going with some mates.
He's a grown-up now.
Needs to Iearn to Iive.
Itwill delaythe new shack a bit.
Doesn't matter.
If it's to straighten Lourival's Iife...
I'II try to raise some dough.
I'II drop you downtown.
Mate, Iet me tell you...
I've married again.
Itwas abouttime.
Congratulations, mate.
Thanks.
Stay here, pa.
It's better I get alone.
See that you eat something before departing
If you need anything, write me.
BIess me, Pa.
Cod bless you.
Co with Cod.
Coming next in our program
we proudly present...
...the singer whose success is on the raise!
He isAIaór da Costa!
Hi, Fspírito!
How are you?
Marching along.
Brought any "samba" forÁngela Maria?
Nope!
I came to speakwith a friend.
I broughther one she's gonna accept on the
dot.
If she records it, I'II sit pretty.
She's terrific.
Terrific am I
she's much more than that.
She adds weightto our music.
She interprets a song with her heart.
Cood afternoon.
Mr. Moacir!
- Ah! You have come.
- Yes, I came, sir.
Waita sec, we must have a talk.
Whathave you come to do here?
I don'twant you around here.
What's your phone number?
Note down Mr. Figueiredo's
grocery number...
29-5202.
I'II give you a call, one ofthese days.
We musttalk.
Okay, Mr. Moacir.
Bye-bye.
Fspírito...
why didn'tyou come in?
I waswaiting for you.
I was out here with Mr. Moacir.
He got you anything?
Nope.
We must have a talk.
Fverything's settled.
Co sing the "samba" to him now.
He records it and itwill sell big.
It's a hitfor Carnival.
Now...
there's only a snag...
I've promised him partnership.
But don'tworry.
He's a success in record selling.
And this partnership, you know...
Main thing is thatthe dough comes to us.
This thing of a "samba" by three...
Keep cool.
He'sthe only singerwho still has free one side
ofthe record.
It's take it or Ieave it.
You're needing cash?
Take this.
My partner!
AIaór
meet Fspírito.
I Iiked the melody.
Wantto hear, AIaór?
Sing the "samba".
Here, son.
Drink in honor of your godfather.
"*As the twig is bent so growsthe tree.,'
To my pal and future competitor!
So, pal...
Can we hear a bitof music?
Of course.
Don'tworry, Adelaide, the house is ours.
Right, pal?
In "New Voices" we present
AIaór da Costa
AIaór da Costa to sing of his authorship with
Maurício Silva
the samba "I teased her".
They didn't mention you northe partners.
No money norfame.
Complain, Fspirito! Don't Ietthat go by!
I'II talk to Maurício.
That guy is a second-rate singer.
Has no rythm.
To make itworse
he sang it Iike a bolero.
A"samba" of highest class!
Be quiet, baby.
Ouiet baby...
In a "samba" of high class
one has to have "bossa".
So...
And that other?
That one he wouldn't sing.
Lorival!
With whom isthe dough?
With me.
Cive itto Mr. Figueiredo.
I'm gonna fetch the group.
Come in.
Wantto eat?
Bythe Iooks of Mr. Figueiredo the shop is over.
Why didn't you come to me?
I don't know father
I was ashamed.
Right.
But you didn't need to do that.
Moreoverwith Mr. Figueiredo.
To steal from him it's Iike stealing yourfather.
Why did you mix up with those guys?
They're myfriends.
Theyran away from there with me.
Butthey're no good Lourival.
You didn't need to.
Listen, you'II stay here with me.
Tomorrow well talk to Mr. Figueiredo and...
No! He's not gonna stay here 'cause.
I want no problemswith the police.
He'II stay here with me, I said!
Whatfor? You think I'm gonna cover a thief?
Lourival isn't a thief.
Isn't it?
He's a victim ofbad companions.
He's no thiefand is gonna stay here with me.
He's my son.
I won't Iet my son thrown out in the street.
Skull fracture.
No identity.
Profession, address and so forth, don'tfill in.
Fell from the train.
We have, to operate immediately.
Check bones.
The doctor is gonna operate. Let's Iift him up.
Fine. I don'twantto miss this.
Dr. Souza will operate.
Isn't duty time over?
Yes, but Dr. Souza will operate.
Is Lourival in?
There's no Lourival here.
I'm his father and...
Cet outof here!
Wait!
You're Lourival's father?
Where is he?
I also musttalk to him.
I see him once in a while.
He hasn't shown up here.
Is he Iiving atyour house?
No.
He's been there yesterday.
I'II advise him aboutyou.
Where do you Iive?
Down there. Near the rock where a small bar is
being built.
Down there. Near the rock where a small bar is
being built.
Advise me, right?
My uncle has been thrown out. He didn'thave
where to go.
Farewell Iittle bar.
Where are you going?
Leave me alone.
I owe you no explanations.
You only give promises.
If I don'twork I'II starve to death.
Well, you don'tneed, to work anymore.
Fine! I'II be supported by your son's thefts!
Could only be. 'Cause your "sambas" and your
house...
Itwas very well done.
He had to support his folks.
I don't need the bar
my "samba,' will be recorded for Carnival.
Then another one, another and another.
I'm a composer.
I can easily support you with my musics.
...and make you happy if you want.
This is what I Iive from.
You've disappeared, didn'tlook us up.
It's always difficultto talkto you.
Why didn't you go to my house?
You didn't give your address.
- Let's go there now.
- I can't go now.
Write down my address, OK?
OK. Let me get some paper.
Write it down on this.
Haven'tyou sung this "samba"to me?
No. This one isn't a song.
It's sortof agitated.
Take all these sheetsto me.
I'II write yourtunes down so theywon't
disappear.
Co to my house.
Maurício
Maurício.
How are you, partner?
I was Iooking for you 'cause...
Cood. We must have a talk.
Be here tomorrow.
The matter is going well.
I'm working out a new singerfor next semester.
He'II be a hit!
But I'm out of dough.
Can you Iend me some?
I'm penniless too.
Drop in tomorrow and we'II see...
Just a few nickels, Maurício.
I haven't a cent, I told you!
Are you going thatway?
Fntonces, hasta Iuego.
I'II walk along with you.
But I'm in a hurry!
I only wanna know when
will we sign a contract.
Well, Iisten...
The "I teased her"...
AIaór told me...
Well, I think you shouldn't
go to the recording.
The "samba" has been recorded?
It's going to be.
Hell, Maurício, I haven't even signed the
contract!
Right, but you Iive too far away.
I was going to advise you.
Cool, partner.
Wait a sec, Fspírito
you'II have to understand one thing...
You have to renounce the song.
What do you mean?
I've put Waldemar as a partner.
He's a disk-jockey, you know
and can easily "work up" the song.
Tell you...
...but dealing with the recording, editors etc...
You're a composertoo, you know how it is.
I don'tknow anything, Maurício!
The "samba" is mine
and I want my name on it.
Waita minute, I own ittoo! It's a fifty-fifty
arrangement!
Besides, you'II be better off if you renounce
you risk nothing.
Look, Iet's do something...
I'II give you one grand now
and Iater on you'II get more.
I wantto sign a contract!
Listen, I've already signed the contract.
Don't make a fuss now, Fspírito.
Look, take a grand and Iater on
you'II get more.
- The music is mine!
- Whythe hell raise a fuss now?
Itwould he difficultto prove.
And then the song will root in a shelf, nobody
will work it.
Take a grand
and I promise...
...I'II give you more as son as selling begins.
This money isn'teven mine.
Look, to make it Iegal...
...Iet's do one thing.
FWrite here...
"'I have nothing to do with this composition."
Now date it and sign it.
Sign it.
Fine!
My partner!
Wanna watch the recording?
No, I must go home.
Adelaide.
What do you want?
The dough and Lorival.
I don't have the dough and don'tknow where
Lourival is.
Leave me!
I wantthe dough now.
I'II get Lourival Iater.
He mustpay forthis too.
Just a sec.
Moacir, yourfriend Fspírito had an accident.
I'II say you're not in.
I'II take it.
Nonsense! Why bother?
Tomorrow you pay a visit.
Yes, I know him.
No, he's no relative of mine.
Waitfor me
I'II go right away.
You're the only one
who can inform about him.
We only got his name and address. Thanks.
Since Lourival gave the stolen money backto
its owner...
...the gang's Ieader didn't belive and attacked
him...
...being repelled by him with a jack-knife.
This brought up the wish for a vengeance...
...which took place atnight...
...when the whole gang killed Lourival...
...with knives and stones
in front of his father.
Let's sit down.
My condolences.
Too bad, partner.
It's over though.
I have to talk with you.
You mustgo talkwith the recording director.
You have another documentto sign. Aformality.
It's forthe middle ofthe year?
Let me see.
Itwill be a hit.
We'II Iaunch this bomb rightafter Faster.
Let me see.
Notthis one!
Notthis one! This "samba" is mine!
Only mine!
I'II have itrecorded myself.
And itwill be sung by Ángela Maria.
Angela
I've brought a "'samba,'to show you.
I'II Iove to hear it.
Let's do itthisway.
Atthe coffee-bar, while I drink a coffee...
...you sing me your "samba". OK, dear?
OK.
Thanks.
Acoffee, please.
Sing your "samba".
It'sfabulous!
Congratulation!
Music is mine...
Bring me the written music
I'II have it arranged and sing it.
Satisfied?
Thanks.
I've a friend who can write the melody for you.
No, it's not necessary.
You mean you write music?
No.
Butthe fact is I have a friend too.
Is Mr. Moacirthere?
I'm Fspírito, from the Samba School.
Ah, yes. Come in.
AIIow me.
Finally you have come.
Sit down.
I bring you a "samba,' cause...
...I need the music written.
We'II do it now.
This is the best "samba" composer alive.
He has some fabulous "sambas".
You must Iisten.
Sing a Iittle, sing.
Which isthe Iast one, Fspírito?
It's this.
How does itgo?
Sing it.
It shows deep-feeling Iyrics.
It's not syrupy.
Right. It's not.
Amazingly he has hundreds of "sambas".
Amazingly he has hundreds of "sambas".
Just as good or betterthan this one.
They all are genuine.
Rich in melody.
I'd Iike to make a balletwith his musics.
And I still will.
I Iack a Iittle more intimacy with the themes.
I fear stylizing them.
Stylization is always needed. It's the only wayto
folklore...
Fspírito's "sambas", have nothing to do with
folklore.
They are authentic creations...
Theyreflectwhat Fspírito has seen and felt.
Have you seen Adalberto'sfestivity?
What a flop, my Cod!
Horrible dancing.
Adalberto tried whatyou're aiming at.
Itwas okay.
It has new qualities.
Ain'tyou just being kind?
The truth is itwas a tremendous disaster.
Yeah, Adalberto was too ambitious.
Tried making a Brazilian Opera.
It ended up with a weak choreography.
Nothing to do with ballet
nor cultural tradition.
Adalberto promised much and came up with
nothing.
Kept promising the whole Iife
and paid for it.
Is ittrue he's gonna Ieave Cidinha?
Yes, he now wants to dedicate himselfsolely to
art.
What is it, Fspírito?
I must Ieave now, Mr. Moacir
Cood afternoon.
Do you need anything?
No, thank you.
If you do, just say.
Okay...
Cood afternoon.
Forthe music you've asked me for...
...come around tomorrow morning, okay?
Yes, all right.
Bye, bye.
Today we'II ride seated.
Unbelievable.
Thatone will Ieave first.
I'm in no hurry.
My deal isthe "samba", and itonly begins when
I arrive.
Boy, you've missed a great party.
We've waited for you.
Making Carnival?
Fven ifthey steal my wallet
I'II make my "'samba,'.
It's gonna go big.
This year is ours.
Samba of mine.
Which is of Brazil too...
Samba...
Which is of Brazil too...
Samba of mine.
The other goes now!
Samba of mine.
Which is of Brazil too...
Samba of mine.
Which is of Brazil too...
They're wanting to turn you...
...into a poor despised wreck.
Butthe world hasn'tforgotten you.
To us the "samba" hasn't died.
In Mangueira and Portela
In Salgueiro and Favela.
You are representative.
As Iong as there is
on the yard a new generation.
In each ofthem you'II never Ieave theirs hearts.
Let's take him to the pharmacy.
I'm Iate, I can't.
I'm Iate, I can't.
Do you know Fspírito's "sambas"?
AIittle.
Sir, if you want...
Don'tcall me "'sir,'.
If you want, we can go up the hill.
Many people know some of his "sambas".
Some...
Three orfour.
The bestofthem.
Here I am.
Attention, folks...
Since the great Alaór da Costa can't come...
...I bring you the radio star ...
Mauricio Silva
...who'll speak for him...
Thank you, my friends.
The great Alaór da Costa can't come...
...as our friend here has said.
But Alaór
sends you through me...
...his best greetings to all.
And I always at the side of the real "sambistas"
I am here 'cause the "samba" must always be
praised!
And long live the Samba School
"Unidos da Laguna"!
Sing the "Dama de Ouros"
Drink this.
Maurício!
Nothing done. Nobody liked your "samba".
Is this "samba" yours also?
It's my pleasure to meet you.
I'm Fspírito da Luz Suave
at your service.
Terrific!
Your "sambas" are fabulous!
I'm a composer also.
We're colleagues.
Recorded already?
No.
Me neither.
My concerts and symphonies are still in the
drawer.
Brazilian music has no luck.
But you have a Iotof merit.
- You're amazing!
- No, no...
All that's yours is good, you know?
Yeah, a lot of heart in it.
Sing another one.
Have you some more?
He can sing all night long, there's plenty of
"sambas".
Now it's enough.
I'm so tired!
What do you do for a Living?
Can we know?
Sort of.
Some odd jobs.
To earn my Living I do worse...
I play violin.
Anything the people ask for.
Twenty years of study to become that!
Aviolinist!
Starting to be dramatic?
Isn't it true?
Is it or not?
Yes, it is.
If you need me, you can count on me.
You've a fortune in your head, boy.
Must take it out from there.
Count on me.
Your musics...
How is this "samba"?
Just a minute.
This one is tops.
This music gets into everyone's head.
Fspírito sing the beginning of it.
Right there.
Instead of "parting" sing "running away".
Try it this way.
See? Much better that way, right?
Car is leaving.
To those staying, good night.
Wait.
Then it's settled, right?
I'm at your service.
You drop by tomorrow.
I'm humbly at your service.
Well, Moacir, thank you.
Good night.
Come to the radio-station tomorrow.
I've a something for you.
My brother!
Cool!
Good night.
If you want
we can walk along with you.
There's no danger anymore.
See you tomorrow.
You didn't notice,
but when you were singing...
...he kept staring at you.
He liked your sambas very much.
All right, Cracinda
I'll go there tomorrow right away.
I'll ask Mr. Figueiredo to give me free time and...
Will he introduce you to Ángela Maria?
He surely will.
And she'll be recording
all your sambas, right?
Look, "I don't want to die now"
is right for her voice.
Is it you, Pa?
I was taking some measurements.
Tomorrow I'm gonna saw some planks at the
factory.
It's growing up. Right, pal?
Yeah.
I think that in about 5 Sundays more...
...we'll cover the first floor.
Your place.
Fspírito's small bar
We must find a name for the shop.
No, my goddaughter.
What I need is
to arrange money to buy goods.
Nonsense, pal.
Mr. Figueiredo has promised to advance
some.
And there's a guy in the "samba school"...
...who said he's gonna help godfather.
He'll introduce him to Ángela Maria...
He'll record many "sambas"...
and make big success and big money.
Calm down, sweetie.
Business is not so easy.
Anyway, our little shop is gonna work.
I'll be even able to take Lourival out of the
asylum.
It will be a life-start for him...
...to take care of the shop during the day.
Right, Honorio?
I think so, pal.
I think so, pal.
Now the Judge can't say...
...you haven'ta profession.
Good night, pal.
See you tomorrow, Honorio.
Blessing, godfather.
Cod bless you.
Can I stay here today?
Then the wound grew in size.
It was a very small sore in the beginning.
But I know a guy...
...who lost hist'ro legs
in a train accident.
Did I pick up everything?
There's one on the other side.
There, look.
You could pick that up. Might be some
document.
Let me see.
Without it there won't be no more "samba" on
the hill.
It's all "samba" lyrics
Don't touch anything.
This is mine.
At what time did he fall?
More or less at 6.
6:30
It was past 6 when he fell.
We got there quickly and took him away from
rails.
Now we're waiting for the ambulance.
What else?
I've advised the station agent.
Help is coming.
I'll go check.
These are the papers he Ietfall.
Putthem back in the same place.
Patrol 35 calling Central.
PIease insist sending
ambulance to the site.
Someone is seriously injured.
Hello, SouzaAguiar Hospital!
Hello, SouzaAguiar Hospital!
We reinforce ourrequestfor an ambulance...
...to help a seriously injured man.
Hallo, attention.
Here is ambulance 11-76 speaking.
We're Ieaving in a few seconds.
Doctor...please...doctor...
Justgive him plenty of milk.
Nothing else?
No.
And there's no danger?
No.
Don't give him milk no more.
He has a bad Iiver.
Victim identified yet?
No documents.
Central calling patrol-car 35.
Petrol-car 35 Iistening.
Assistance will be finished atthe site...
...if Central agrees Ieaving the case to the
Railway.
Okay, agreed. Patrol-car 35 move on to next
mission...
Roger. Patrol-car 35 will proceed.
Stop with the bad omen, Iady, forgetthe candle.
May we two come in?
Is that your only Iuggage?
This was all thatson-of-a-bitch Ieft me.
Little doll, come to daddy, come.
Come to daddy.
He's so cute!
Oh, he's so cute, Adelaide!
So cute!
Seems you never saw a kid.
This one is beautiful.
What happened to yourfamily?
Mywife died.
She was a good companion.
Died when Lourival was born...
I've been single for 15 years.
Who most suffered was Lorival.
The Judge decided I couldn't keep him.
Fairlythinking, I couldn'treally, you know?
I had to Ieave him
everyday in the back yard.
His back yard was in fact
the whole hill-side.
He probably is a good scoundrel.
And this one
here what's he'II be?
I'm Iate.
And the Iandladywill have a fitif I take this kid
along.
You won'tneed to take him.
Poorthing.
What's his name?
CIaudio.
But he hasn'tbeen baptized yet.
Notyet?
We'II take care ofthat.
We'II take care ofthat.
Come here.
See that?
In a shorttime I'II have a new house.
My mate will Iive upstairs
and I'II tend the bar
and have two rooms downstairs.
There'II be plenty of space free.
Ifyou wantto, Adelaide...
Well, what did t bring the "Iuggage" for?
Cracinda, you'II take care of CIaudio, okay?
Why this Iook of amazement?
Can't I marry again?
I'm going.
What does he eat?
Anything will do.
Mr. Figueiredo, I...
Yeah, I know what's up.
Yeah...itjust happened, you know.
I'm married again.
Well, Mr. Figueiredo
I've a Iittle problem...
Can I make the payments tomorrow?
Okay.
Well, one more thing...
I'II eave mywork for tomorrow...
...but I would need the paymentfor ittoday.
Could you advance me some?
Thiswill do?
Yes, Mr. Figueiredo.
It's justto go down and "work" my "samba".
Then, ride down in the truck.
Wows I'II surely do that.
See you tomorrow. Thanks.
Is Honorio here?
In the back. Come in.
Hold the fort.
This won't do, Fspírito
he's been spanked too much.
BIess me, pa.
ÉI quería ir a São Paulo
Should go back to the asylum.
Maybe he gets work.
I can't come back!
Son, why did you run away?
Yourtime was nearly over.
I had to run away with the gang.
Putthis on.
I've only those $ 500.
It's forthe planks.
Howwill you Iive in Sao Paulo?
I'm going with some mates.
He's a grown-up now.
Needs to Iearn to Iive.
Itwill delaythe new shack a bit.
Doesn't matter.
If it's to straighten Lourival's Iife...
I'II try to raise some dough.
I'II drop you downtown.
Mate, Iet me tell you...
I've married again.
Itwas abouttime.
Congratulations, mate.
Thanks.
Stay here, pa.
It's better I get alone.
See that you eat something before departing
If you need anything, write me.
BIess me, Pa.
Cod bless you.
Co with Cod.
Coming next in our program
we proudly present...
...the singer whose success is on the raise!
He isAIaór da Costa!
Hi, Fspírito!
How are you?
Marching along.
Brought any "samba" forÁngela Maria?
Nope!
I came to speakwith a friend.
I broughther one she's gonna accept on the
dot.
If she records it, I'II sit pretty.
She's terrific.
Terrific am I
she's much more than that.
She adds weightto our music.
She interprets a song with her heart.
Cood afternoon.
Mr. Moacir!
- Ah! You have come.
- Yes, I came, sir.
Waita sec, we must have a talk.
Whathave you come to do here?
I don'twant you around here.
What's your phone number?
Note down Mr. Figueiredo's
grocery number...
29-5202.
I'II give you a call, one ofthese days.
We musttalk.
Okay, Mr. Moacir.
Bye-bye.
Fspírito...
why didn'tyou come in?
I waswaiting for you.
I was out here with Mr. Moacir.
He got you anything?
Nope.
We must have a talk.
Fverything's settled.
Co sing the "samba" to him now.
He records it and itwill sell big.
It's a hitfor Carnival.
Now...
there's only a snag...
I've promised him partnership.
But don'tworry.
He's a success in record selling.
And this partnership, you know...
Main thing is thatthe dough comes to us.
This thing of a "samba" by three...
Keep cool.
He'sthe only singerwho still has free one side
ofthe record.
It's take it or Ieave it.
You're needing cash?
Take this.
My partner!
AIaór
meet Fspírito.
I Iiked the melody.
Wantto hear, AIaór?
Sing the "samba".
Here, son.
Drink in honor of your godfather.
"*As the twig is bent so growsthe tree.,'
To my pal and future competitor!
So, pal...
Can we hear a bitof music?
Of course.
Don'tworry, Adelaide, the house is ours.
Right, pal?
In "New Voices" we present
AIaór da Costa
AIaór da Costa to sing of his authorship with
Maurício Silva
the samba "I teased her".
They didn't mention you northe partners.
No money norfame.
Complain, Fspirito! Don't Ietthat go by!
I'II talk to Maurício.
That guy is a second-rate singer.
Has no rythm.
To make itworse
he sang it Iike a bolero.
A"samba" of highest class!
Be quiet, baby.
Ouiet baby...
In a "samba" of high class
one has to have "bossa".
So...
And that other?
That one he wouldn't sing.
Lorival!
With whom isthe dough?
With me.
Cive itto Mr. Figueiredo.
I'm gonna fetch the group.
Come in.
Wantto eat?
Bythe Iooks of Mr. Figueiredo the shop is over.
Why didn't you come to me?
I don't know father
I was ashamed.
Right.
But you didn't need to do that.
Moreoverwith Mr. Figueiredo.
To steal from him it's Iike stealing yourfather.
Why did you mix up with those guys?
They're myfriends.
Theyran away from there with me.
Butthey're no good Lourival.
You didn't need to.
Listen, you'II stay here with me.
Tomorrow well talk to Mr. Figueiredo and...
No! He's not gonna stay here 'cause.
I want no problemswith the police.
He'II stay here with me, I said!
Whatfor? You think I'm gonna cover a thief?
Lourival isn't a thief.
Isn't it?
He's a victim ofbad companions.
He's no thiefand is gonna stay here with me.
He's my son.
I won't Iet my son thrown out in the street.
Skull fracture.
No identity.
Profession, address and so forth, don'tfill in.
Fell from the train.
We have, to operate immediately.
Check bones.
The doctor is gonna operate. Let's Iift him up.
Fine. I don'twantto miss this.
Dr. Souza will operate.
Isn't duty time over?
Yes, but Dr. Souza will operate.
Is Lourival in?
There's no Lourival here.
I'm his father and...
Cet outof here!
Wait!
You're Lourival's father?
Where is he?
I also musttalk to him.
I see him once in a while.
He hasn't shown up here.
Is he Iiving atyour house?
No.
He's been there yesterday.
I'II advise him aboutyou.
Where do you Iive?
Down there. Near the rock where a small bar is
being built.
Down there. Near the rock where a small bar is
being built.
Advise me, right?
My uncle has been thrown out. He didn'thave
where to go.
Farewell Iittle bar.
Where are you going?
Leave me alone.
I owe you no explanations.
You only give promises.
If I don'twork I'II starve to death.
Well, you don'tneed, to work anymore.
Fine! I'II be supported by your son's thefts!
Could only be. 'Cause your "sambas" and your
house...
Itwas very well done.
He had to support his folks.
I don't need the bar
my "samba,' will be recorded for Carnival.
Then another one, another and another.
I'm a composer.
I can easily support you with my musics.
...and make you happy if you want.
This is what I Iive from.
You've disappeared, didn'tlook us up.
It's always difficultto talkto you.
Why didn't you go to my house?
You didn't give your address.
- Let's go there now.
- I can't go now.
Write down my address, OK?
OK. Let me get some paper.
Write it down on this.
Haven'tyou sung this "samba"to me?
No. This one isn't a song.
It's sortof agitated.
Take all these sheetsto me.
I'II write yourtunes down so theywon't
disappear.
Co to my house.
Maurício
Maurício.
How are you, partner?
I was Iooking for you 'cause...
Cood. We must have a talk.
Be here tomorrow.
The matter is going well.
I'm working out a new singerfor next semester.
He'II be a hit!
But I'm out of dough.
Can you Iend me some?
I'm penniless too.
Drop in tomorrow and we'II see...
Just a few nickels, Maurício.
I haven't a cent, I told you!
Are you going thatway?
Fntonces, hasta Iuego.
I'II walk along with you.
But I'm in a hurry!
I only wanna know when
will we sign a contract.
Well, Iisten...
The "I teased her"...
AIaór told me...
Well, I think you shouldn't
go to the recording.
The "samba" has been recorded?
It's going to be.
Hell, Maurício, I haven't even signed the
contract!
Right, but you Iive too far away.
I was going to advise you.
Cool, partner.
Wait a sec, Fspírito
you'II have to understand one thing...
You have to renounce the song.
What do you mean?
I've put Waldemar as a partner.
He's a disk-jockey, you know
and can easily "work up" the song.
Tell you...
...but dealing with the recording, editors etc...
You're a composertoo, you know how it is.
I don'tknow anything, Maurício!
The "samba" is mine
and I want my name on it.
Waita minute, I own ittoo! It's a fifty-fifty
arrangement!
Besides, you'II be better off if you renounce
you risk nothing.
Look, Iet's do something...
I'II give you one grand now
and Iater on you'II get more.
I wantto sign a contract!
Listen, I've already signed the contract.
Don't make a fuss now, Fspírito.
Look, take a grand and Iater on
you'II get more.
- The music is mine!
- Whythe hell raise a fuss now?
Itwould he difficultto prove.
And then the song will root in a shelf, nobody
will work it.
Take a grand
and I promise...
...I'II give you more as son as selling begins.
This money isn'teven mine.
Look, to make it Iegal...
...Iet's do one thing.
FWrite here...
"'I have nothing to do with this composition."
Now date it and sign it.
Sign it.
Fine!
My partner!
Wanna watch the recording?
No, I must go home.
Adelaide.
What do you want?
The dough and Lorival.
I don't have the dough and don'tknow where
Lourival is.
Leave me!
I wantthe dough now.
I'II get Lourival Iater.
He mustpay forthis too.
Just a sec.
Moacir, yourfriend Fspírito had an accident.
I'II say you're not in.
I'II take it.
Nonsense! Why bother?
Tomorrow you pay a visit.
Yes, I know him.
No, he's no relative of mine.
Waitfor me
I'II go right away.
You're the only one
who can inform about him.
We only got his name and address. Thanks.
Since Lourival gave the stolen money backto
its owner...
...the gang's Ieader didn't belive and attacked
him...
...being repelled by him with a jack-knife.
This brought up the wish for a vengeance...
...which took place atnight...
...when the whole gang killed Lourival...
...with knives and stones
in front of his father.
Let's sit down.
My condolences.
Too bad, partner.
It's over though.
I have to talk with you.
You mustgo talkwith the recording director.
You have another documentto sign. Aformality.
It's forthe middle ofthe year?
Let me see.
Itwill be a hit.
We'II Iaunch this bomb rightafter Faster.
Let me see.
Notthis one!
Notthis one! This "samba" is mine!
Only mine!
I'II have itrecorded myself.
And itwill be sung by Ángela Maria.
Angela
I've brought a "'samba,'to show you.
I'II Iove to hear it.
Let's do itthisway.
Atthe coffee-bar, while I drink a coffee...
...you sing me your "samba". OK, dear?
OK.
Thanks.
Acoffee, please.
Sing your "samba".
It'sfabulous!
Congratulation!
Music is mine...
Bring me the written music
I'II have it arranged and sing it.
Satisfied?
Thanks.
I've a friend who can write the melody for you.
No, it's not necessary.
You mean you write music?
No.
Butthe fact is I have a friend too.
Is Mr. Moacirthere?
I'm Fspírito, from the Samba School.
Ah, yes. Come in.
AIIow me.
Finally you have come.
Sit down.
I bring you a "samba,' cause...
...I need the music written.
We'II do it now.
This is the best "samba" composer alive.
He has some fabulous "sambas".
You must Iisten.
Sing a Iittle, sing.
Which isthe Iast one, Fspírito?
It's this.
How does itgo?
Sing it.
It shows deep-feeling Iyrics.
It's not syrupy.
Right. It's not.
Amazingly he has hundreds of "sambas".
Amazingly he has hundreds of "sambas".
Just as good or betterthan this one.
They all are genuine.
Rich in melody.
I'd Iike to make a balletwith his musics.
And I still will.
I Iack a Iittle more intimacy with the themes.
I fear stylizing them.
Stylization is always needed. It's the only wayto
folklore...
Fspírito's "sambas", have nothing to do with
folklore.
They are authentic creations...
Theyreflectwhat Fspírito has seen and felt.
Have you seen Adalberto'sfestivity?
What a flop, my Cod!
Horrible dancing.
Adalberto tried whatyou're aiming at.
Itwas okay.
It has new qualities.
Ain'tyou just being kind?
The truth is itwas a tremendous disaster.
Yeah, Adalberto was too ambitious.
Tried making a Brazilian Opera.
It ended up with a weak choreography.
Nothing to do with ballet
nor cultural tradition.
Adalberto promised much and came up with
nothing.
Kept promising the whole Iife
and paid for it.
Is ittrue he's gonna Ieave Cidinha?
Yes, he now wants to dedicate himselfsolely to
art.
What is it, Fspírito?
I must Ieave now, Mr. Moacir
Cood afternoon.
Do you need anything?
No, thank you.
If you do, just say.
Okay...
Cood afternoon.
Forthe music you've asked me for...
...come around tomorrow morning, okay?
Yes, all right.
Bye, bye.
Today we'II ride seated.
Unbelievable.
Thatone will Ieave first.
I'm in no hurry.
My deal isthe "samba", and itonly begins when
I arrive.
Boy, you've missed a great party.
We've waited for you.
Making Carnival?
Fven ifthey steal my wallet
I'II make my "'samba,'.
It's gonna go big.
This year is ours.
Samba of mine.
Which is of Brazil too...
Samba...
Which is of Brazil too...
Samba of mine.
The other goes now!
Samba of mine.
Which is of Brazil too...
Samba of mine.
Which is of Brazil too...
They're wanting to turn you...
...into a poor despised wreck.
Butthe world hasn'tforgotten you.
To us the "samba" hasn't died.
In Mangueira and Portela
In Salgueiro and Favela.
You are representative.
As Iong as there is
on the yard a new generation.
In each ofthem you'II never Ieave theirs hearts.
Let's take him to the pharmacy.
I'm Iate, I can't.
I'm Iate, I can't.
Do you know Fspírito's "sambas"?
AIittle.
Sir, if you want...
Don'tcall me "'sir,'.
If you want, we can go up the hill.
Many people know some of his "sambas".
Some...
Three orfour.
The bestofthem.