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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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
Washerwoman
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
Washerwoman
As the lambari does
Washerwoman
Looking for love from afar
Washerwoman
that the love that was near I already lost
Washerwoman
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?
No,
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.
Beautifull
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
Attention,
"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...
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! 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,
nothing.
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
Presents
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
Italian-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"
"War!"
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
yesteryear..
Your singing is just an echo
a longing in infinity
PYL4 DO Cataguases calling.
1BDO South Volta Grande,...
4AXB, 4AVC
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.
Hello, 1BDO calling
PYL4 DO Cataguases calling
1BDO South Volta Grande calling, 1BDO
4AXB, 4AVC
1BDO called, on the frequency
PYL4 AXB, 4AXB, 4AXB
PY 1BDO calling 5AIM
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
Washerwoman
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
Washerwoman
As the lambari does
Washerwoman
Looking for love from afar
Washerwoman
that the love that was near I already lost
Washerwoman
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?
No,
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.
Beautifull
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
Attention,
"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...
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! 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,
nothing.
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
Presents
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
Italian-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"
"War!"
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
yesteryear..
Your singing is just an echo
a longing in infinity
PYL4 DO Cataguases calling.
1BDO South Volta Grande,...
4AXB, 4AVC
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.