Saludos Amigos (1942) - full transcript

Live-action segments show members of the Disney staff touring South America and recording their impressions in sketches. These segue into four animated sections: "Lake Titicaca" depicts tourist Donald Duck's troubles with a stubborn llama; "Pedro" tells of a little mail plane's adventures flying over the treacherous Andes; "El Gaucho Goofy" transplants an American cowboy into the Argentine pampas; and in "Aquarela do Brasil," Jose Carioca shows Donald the sights and sounds of Rio de Janiero.

foodval.com - stop by if you're interested in the nutritional composition of food
---
Saludos Amigos

A fond greeting to you

A warm handshake or two

Good friends always do

Saludos Amigos

A new day's waiting to start

You must meet it
Wake up and greet it

With a gay song
In your heart

NARRATOR:
Here's an unusual expedition,

artists, musicians and writers setting out
for a trip through Latin America...

to find new personalities, music
and dances for their cartoon films.



So, "Adios, Hollywood,"
and "Saludos, amigos."

Saludos Amigos

A new day's waiting to start

You must meet it
Wake up and greet it

NARRATOR: Three days later,
they glided in to Rio de Janeiro, Brazil,

then down to the Argentine,
Buenos Aires...

and out across the Pampas.

At Cordoba, the party divided.

Some flew over the Andes
into Chile.

The others went north
to the Inca country.

Bolivia, Peru
and Lake Titicaca.

Turning away
from the modern cities

to find the descendants
of ancient Inca civilization.

Eight thousand square miles of water
over two miles above sea level.



Lake Titicaca has been prominent

in Inca history and folklore
for generations.

Wood is scarce at this altitude,

so the fishermen's boats
are woven of balsa reeds.

There's always plenty of color
and excitement here on market day.

These folks come from miles around,

to trade their goods
and swap some of the local gossip.

The styles run to bright-colored clothes
and conservative hats.

And a rumble seat for the baby.

Just the kind of material
the artists were after.

Their music is strange and exotic.

Melodies handed down
from their Inca ancestors.

And walking haystacks
are right in tempo.

These little syncopated burros
bear the heavy burdens here...

because the more dignified llama

will carry just so much
and no more.

When his quota is exceeded,
that haughty aristocrat of the Andes

calmly sits down
and refuses to budge.

Yes, a llama can make you feel
awfully unimportant.

All these impressions,

together with the local color
that had been absorbed,

resulted in a little travelog,

seeing the land of the Incas,

through the eyes of a celebrated
North American tourist.

Lake Titicaca is approximately
13,000 feet above sea level.

- Thirteen thousand feet?!
- NARRATOR: Hm. Approximately.

At this great height, many visitors
are subject to altitude fever

- or soroche.
- Is that so?

NARRATOR: The most common symptom
is dizziness.

Dizziness?

Ah, phooey!

NARRATOR: Often followed by palpitation
of the heart.

(BEATING)

The ears have a tendency to pop.

(POPPING)

- And a peculiar ringing sound is heard.
- (RINGING)

NARRATOR: (CHUCKLES)
Fascinating, isn't it?

The balsa, or basket boat

is constructed entirely
of reeds tightly bound together.

It's built to withstand
the fury of the elements.

In fact, it seems to be impervious
to practically everything.

(BOAT RATTLES)

Except the inquisitive tourist.

Crossing the lake
is often filled with adventure.

A strong wind
may arise very suddenly.

And then stop suddenly.

In the village we find
this quaint old bakery,

where the tourist may loaf around
to his heart's content.

For the artist
in search of local color,

the marketplace presents
an excellent picture of village life

as shoppers and merchants
bustle about the public square.

(MUSIC PLAYS)

The precipitous terrain
in this region offers no problem

to these hardy folk.

And we find the people here
divided into two classes,

- those who walk against the wind...
- (CAMERA CLICKING)

and those who walk with the wind.

Yes, wherever the visitor
points his camera,

he finds a picture...

fit for framing.

The llama, or "yama,"
is an odd-looking individual,

with considerable personality.

His master, here, exercises
complete control over him,

with a homemade flute.

Let's see how he responds
to a few notes up scale.

(NOTES GOING UP)

And down scale.

(NOTES GOING DOWN)

- Up.
- (NOTES GOING UP)

- Down.
- (NOTES GOING DOWN)

Now do a circular pattern.

(PLAYS MELODY)

Or reverse.

(TRANSPOSED MELODY)

My, my, my! It's amazing!

(SHUTTER CLICKS)

(PLAYING FLUTE)

NARRATOR:
Note how the crude sign language

being used by our tourist here,

is quickly interpreted
by this wide-awake youngster.

¿Aquí está?

¡Gracias!

¡Mucho gracias!

BI-bl-bl-bl-bl!

NARRATOR: The visitor never seems
to be satisfied,

until he tries on the native costume.

And our tourist is no exception.

(PLAYING OFF-KEY)

(CONTINUES PLAYING FLUTE)

(JAZZY MELODY)

The llama is obviously
not a jitterbug,

but if you want to explore
this precipitous country,

he'll solve all your
transportation problems.

One soon becomes accustomed
to the low, fleecy clouds,

that steel like silent ghosts
across one's path.

(CONTINUES PLAYING FLUTE)

The gentle undulating
gait of the llama

adapts itself very nicely
to the swaying motion

of the suspension bridge.

DONALD: Suspension bridge?

Oh!

NARRATOR: Far below us,
we see the village.

DONALD: Whoa! Whoa!

(SQUAWKS)

The flute.

(PLAYS FLUTE)

(PLAYS FLUTE)

Give me that flute,
ya big palooka!

(SQUAWKING)

Hey! Take it easy!

Whoa! Whoa!

What?

NARRATOR: The traveler should
be cautioned against

any reckless behavior
at this high altitude.

Overexertion is dangerous.

And above all, one should never
lose one's temper.

Shut up, ya' big windbag!

(DONALD MUTTERING)

Get off of me! Go on, beat it!

(MUTTERING) Doggone you.

(SQUAWKS)

(PANTING)

(SQUAWKS)

NARRATOR: And finally,
the pottery market,

where the visitor always drops in...

seldom failing to accumulate
a large collection,

of the native handiwork,

as he bids a fond farewell

to the land of the Incas,
Lake Titicaca.

The flight across the Andes
into Chile,

over the highest mountains
in America.

Plenty to see and remember
on this spectacular trip.

Since no cameras are allowed here,

the boys have to cover this
from memory and sketches.

Impressions of Uspallata Pass
from 16,000 feet.

These sketches and the stories told
of the pioneer mail planes

that first flew this route
started everyone thinking.

First a little plane
began to take shape...

with a personality all his own.

All agreed that he had
good screen possibilities...

and before the plane
set down at Santiago,

his life story had begun.

Once upon a time, in a little airport

near Santiago, Chile,
there lived three airplanes,

the papa plane, the mama plane
and the baby plane.

The papa plane was a big
powerful male plane.

(ENGINE STARTS)

Mama plane was a middle-sized
female plane.

And the baby plane
was a little boy plane named Pedro.

Uh, where is Pedro?

Oh, there he is.

Maybe someday he'll grow up
to be a big plane

like his father
who carries the mail,

between Chile and Argentina.

- (ENGINE ROARING)
- (BELL RINGING)

Like all fledglings,
Pedro went to ground school,

to learn the ABC's of flying.

He studied reading, skywriting...

and arithmetic.

He was taught anatomy.

He also studied history.

Pedro! And geography.

And in geography,
he learned the mail route

between Santiago and Mendoza.

Over the mighty Andes,
past Aconcagua,

highest mountain
in the western hemisphere.

(THUNDERCLAP)

One day the papa plane was laid up
with a cold in his cylinder head.

(SNEEZES, PROPELLERS SPUTTER)

So, he couldn't fly the mail.

And the mama plane
couldn't stand the altitude,

because she had high oil pressure.

So, she couldn't fly the mail.

- But the mail must go through.
- (ENGINE SPUTTERING)

I hope.

TOWER: Calling Pedro.
Ready for Flight Two to Mendoza.

NARRATOR: "Now, remember, Pedro,"
the mama plane said,

"stay out of downdraft
and keep your muffler on tight."

And don't go near Aconca--

- Aconca-- Aconcagua!
- (SNEEZES)

(PROPELLERS SPUTTER)

TOWER:
Flight Two leaving for Mendoza.

(MUSIC PLAYS)

TOWER: All clear, Pedro.
Let 'er go.

- (ENGINE SPUTTERING)
- TOWER: Give 'er the gun, boy!

- (SPUTTERING CONTINUES)
- Gun 'er! Gun 'er!

Don't lose your flying speed!
Pull up! Pull up!

- (RINGS BELL)
- Look out!

NARRATOR:
And so after a masterly take off,

Pedro started on his
first assignment,

to pick up the mail at Mendoza.

Each and every trip through this pass
is an adventure in itself.

At this altitude, you never
can tell what--(GASPS)

Downdraft!

Pulled out of that one all right.

Handles himself like a veteran.

His course carried him
over the Pass of Uspallata,

where stands the statue
of the Christ of the Andes,

marking the boundary
between Chile and Argentina.

So far, so good.
Not a cylinder missing.

Pedro was flying on top
of the world when suddenly...

his first view of that
towering monarch, Aconcagua!

So, this was the big bully
they'd warned him about.

But, he didn't scare Pedro, though.

No, siree.

(THUNDERING)

Well, the worst is over.

And from now on,
it's clear sailing to Mendoza.

Come in against the wind, Pedro.

There's your mail.

Easy now.

Atta boy!

He picked up his mail
like a veteran.

Uh-oh! Careful!
That cargo is precious.

Pedro was homeward bound
and ahead of schedule.

I'll bet his mother and dad
will be proud of him.

Just a natural-born flier.

Hmm, maybe I shouldn't
have mentioned it.

Look out!

Hope he got that out of his system.

Now with good luck and--
Uh-oh.

(SQUAWKING)

I was afraid of that.

- Hey, Pedro, come back!
- (IMITATES MACHINE GUN)

NARRATOR:
The little fellow had completely

forgotten his responsibilities.
Pedro!

(SIGHS)
Then suddenly, Aconcagua!

Its rocky, snow-filled crags formed
the face of a leering monster.

The oil froze
in little Pedro's cylinders

and his motor knocked with fright.

All those warnings
came back to him now,

the treacherous crosscurrents,
the sudden storms.

(THUNDER EXPLODING)

(WIND GUSTING)

(THUNDER RUMBLING)

Climb above the storm,
Pedro!

Never mind the mail!
Let it go! Let it go!

Forget the mail!
Climb, Pedro! Climb!

- Look out!
- (BRAKES SCREECHING)

Climb, Pedro! Climb!

Get above the storm!
I know you can make it!

(WIND GUSTING)

Drop the mail!
You've got to save yourself!

More altitude!
25,000's all you need!

Up! Up!

Gun your motor!

Now, just a little more
and you'll be in the clear!

Climb, Pedro! Climb!
Good boy!

Good boy!
I knew you could make it!

You're all right now.

Just level off and head straight
for home.

(SPUTTERING)

- He's out of gas.
- (SPUTTERING CONTINUES)

Pedro! Pedro!

- (SPUTTERING)
- He's gone.

Back at the home field,

Pedro's parents
searched the skies in vain.

They knew that he couldn't
have held out this long.

Their brave little son was gone.

Another martyr to the mail service.

Poor little fella.
His first flight.

It's too bad
it had to end this way.

- (ENGINE SPUTTERING)
- What was that?

I wonder if it--
No, it couldn't be.

Wait! It is!

It's Pedro!

(CLUNKING)

- (SIREN BLARING)
- Pedro! Petey boy! Are you all right?

Well, don't ask me how he did it.

It wasn't exactly
a three-point landing,

but he did fulfill his mission.

He brought the mail through.

The mail, that all-important cargo.

"Estoy divirtiendome."

"Having wonderful time.
Wish you were--" Hmm.

Well, it might have been important.

And he did bring in the mail!

And so the papa plane,
the mama plane

and little Pedro
flew happily ever after.

Sailing eastward from Chile,
we cross the Argentine Pampas.

Just millions of acres
of rich grazing land...

stretching from the mountains
to Buenos Aires...

the third largest city
in the Western Hemisphere.

Buenos Aires is a beautiful city.

This is the Plaza de Mayo,

one of its delightful parks.

The Teatro Colon,
home of the opera.

And the stately Congress building,

center of Argentina's government.

The tallest building
in South America...

the Edificio Cavanaugh.

Yes, they were really impressed
with the big city,

but impressive too
was the lure of the Pampas

and the Argentine gaucho,

as painted by F. Molina Campos.

The party were guests
at his ranch studio,

where Senor Campos
paints the gaucho

with amazing detail and humor.

Seeing these pictures made them
more anxious than ever

to meet these caballeros
in person.

And they lived up to their pictures.

A real wild west show,

but just part of the day's work
for a gaucho.

Sketching these paisanos
in action was no easy job.

But they did manage to get a good
look at the gaucho's equipment.

Silver coins decorate his belt,
or tirador.

The sheepskin saddle.

Soft horsehide boots.

This garment's called a chiripa.

Here the visitors
were treated to an asado:

choice cuts of meat,

mate, the Argentine tea,

and wine from their own vineyards.

True Argentine hospitality.

A group of skilled dancers
entertained the guests.

Not the modern tango
of Buenos Aires,

but the country dances
of the Argentine.

The same tunes to which
their grandparents had danced.

(MUSIC PLAYS)

Notice how closely
these steps resemble

the old-time square dances
of North America.

Gathering picture material here
was a pleasure.

(GAUCHO SINGING)

(SINGING CONTINUES)

Another story was under way.

And after seeing
Senor Campos' paintings,

and all this colorful exhibition,

we couldn't help but compare
the life of the Argentine gaucho,

with that of our own cowboy.

And they reached way back into Texas
to find the leading man.

From the windswept plains
of Montana,

to the sunbaked banks
of the Rio Grande,

over countless miles
of mountain and prairie,

untouched and unsullied
by the mercenary hand of civilization,

roams a tough,
hardy and heroic breed of man,

the North American cowboy.

Strong, silent and weather-beaten.

Howdy, strangers!

NARRATOR: This colorful cowhand
of the great west

has his counterpart
in the South American gaucho.

So let us call upon the magic
of our motion picture camera

and whisk our hardy heroes outward.

Over land and sea,

over rugged mountains
and dense jungles...

down across the equator

to the lush, grassy Pampas
of the Argentine,

the home of the gaucho.

Now, the cowboys of both Americas
have much in common,

although their costume differs
in a few minor details.

We substitute bombachas
for chaps, the sombrero.

Then there's the saco,

the tirador, the chiripa
and the panuelo.

Botas, espuelas.

Then finally, we have the poncho,

which just about covers everything.

The gaucho's closest friend
and inseparable companion

is his horse, or pingo.

(KISSING)

Quickly the gaucho reaches
for his lasso!

Twirling the rawhide above his head,

he deftly tosses the noose
about the horse's neck,

and easily subdues
the spirited animal

with the help of the snubbing post...

(CLANG)

...or palenque.

Thanks to the palenque,
or snubbing post,

the horse is soon
brought under control,

and is ready for the saddle.

While it appears complex
at first glance,

the recado, or saddle,
is really simplicity itself.

In saddling the horse,
or pingo,

the gaucho simply lays
a foundation of sudaderos

and rosaderos, adding the cinchas,
bastos, sheepskin, pigskin,

bridle, bit and finally, the gaucho.

When riding the range at night,

the saddle may be quickly
converted into a bed, or catre.

Bed? (WHINNIES)

NARRATOR: One of the gaucho's
favorite sports is the asado,

or Argentine barbecue.

Over an open charcoal fire,

thick, juicy, tender steaks
are prepared.

- (SNIFFING)
- And, amigos,

it fairly melts in your mouth.

Macanudo!

NARRATOR: The gaucho's method
of eating looks quite simple,

yet requires a certain
amount of practice.

The bread and meat
are held in one hand,

the knife in the other.

Note the action of wrist and elbow,

as knife and food synchronize
in deft, graceful rhythm.

One, two, bite, cut, chew.

One, two, bite, cut, chew.

Yes, it is this wholesome diet
that build the gaucho's

nerves of steel and muscles of iron.

(GULPS, METAL CLANKS)

And now the boleadoras,
or bolas.

The bolas consist of three lead
weights covered with rawhide

and is often used for sport,
such as capturing

that swift-moving bird of the Pampas,
the Argentine ostrich,

- or avestruz.
- (GULPS)

Unlike most members
of the ostrich family,

the avestruz is not equipped
with ornamental tail plumage.

Its slender legs make
excellent targets for the bolas.

Did he say "bolas"?

Caramba!

NARRATOR:
Dashing at breakneck speed,

the gaucho whirls the bolas
round and round, faster and faster,

and then the throw!

Straight and sure it flies,
until it finds its mark.

And the swift bird is captured
and tied all in one operation.

(BELL RINGS)

And now to fully appreciate
this remarkable feat,

let us study the action,

through the eye
of the slow-motion camera.

NARRATOR: (SPEAKING IN SLOW MOTION)
Note the grace and beauty,

of this light-footed creature
in startled flight.

With delicate balance
and clocklike precision of timing,

man and beast moving as one,

display a minimum of waste motion...

as the whirling bolas are unleashed.

(SCREAMS)

NARRATOR: Faster and faster!

On and on they spin,
closer and closer!

Here they come! Be careful!

Get out of the way!
Heads up! Watch it!

Look out, look out! Here it comes!
Duck, duck, duck!

Too late! Too late!

(NARRATOR'S VOICE SPEEDS UP,
INDISTINCT)

(BOLAS CLANGING)

(HIGH-PITCHED)
And when night--

(CLEARS THROAT)
When night falls,

- (THUD)
- ...the lone gaucho oft times

finds himself far,
far out on the Pampas.

Listen to the melancholy
strains of the triste,

a sad, romantic ballad.

Yo soy la blanca paloma

Que en el cardal

De la loma

Yo soy-- Yo soy-- Yo soy--
Yo soy-- Yo soy-- Yo--

(NEEDLE SKIPS)
Yo soy

NARRATOR: But the gaucho
is not always sad.

Come, let us dance
to the lively beat of the chacarera,

the dance of the farmer's daughter.

(WHINNIES)

Combining the minuet,

the bunny hug,
and a dash of jumping jive.

The Pampas version
of cutting a rug.

And El Malambo,

a solo number in which the dancer
swings out with utter abandon,

often described as perpetual motion
below the equator.

(GASPS)

- NARRATOR: El Pala Pala.
- (CROWING)

Ah-hyuck!

NARRATOR: Traditional dance
of the rooster and the hen.

(WHINNIES)

And now, as he sways
to the gentle undulations

of El Malambo, we gently waft
our transplanted cowboy...

back to his prairie homeland.

Here we leave him
with warm and tender memories,

of his visit to the gay,
romantic land of the gaucho.

Hasta la vista.
¡Adios, amigos!

NARRATOR: And now from the Pampas
to Brazil and Rio de Janeiro,

a city of amazing beauty
and a perfect setting.

One of the best views of the city
is from the top of Sugarloaf,

overlooking Copacabana Beach,
the playground of Rio.

From Corcovado,
the Statue of the Savior looks out

upon these scenes
of active city life.

This is the kind of atmosphere
the artists were after.

The outdoor cafes...

the mosaic sidewalks
that are found all over Rio.

These designs are a tribute
to patience and artistry,

preserving a Brazilian tradition.

Here are some
of the first impressions.

This is what can happen
to a big city,

when a crowd of cartoonists
are turned loose.

Among the sketches
was a promising actor,

Old Papagaio, the parrot featured
in most of Brazil's funny stories.

With the help
of the wardrobe department,

he becomes Joe Carioca.

- (MUSIC PLAYS)
- The music of Brazil, a samba.

Rhythm instruments
like reco reco...

and the cabaca...

all help to beat out
that intricate samba rhythm...

a lively two-step with a bounce.

(MUSIC PLAYS)

It's the same rhythm
that captivates the whole city

when carnival time comes around.

- (MUSIC PLAYS)
- CROWD: Samba!

- (SHOUTING)
- (LAUGHING)

(SINGING)

(SINGING CONTINUES)

NARRATOR: Carnival in Rio...

three hilarious days and nights.

Singing, dancing and celebrating.

The spirit of the Mardi Gras
and New Year's Eve rolled into one.

- (GLEEFUL SHOUTING)
- (MUSIC PLAYS)

Each year hundreds of songs are written

especially for this occasion,

and the dream of every composer

is to have his song chosen
as a Carnival hit.

One number stood out
as a perfect background

for the first Brazilian film.

Its author, Ary Barroso,
has made use of the samba rhythm

to paint a musical picture
of his native land,

"Aquarela do Brasil,"
a watercolor of Brazil.

(MUSIC PLAYS)

Brasil
Meu Brasil brasileiro

Meu mulato inzoneiro

Vou cantar-te os meus versos

O Brasil, samba, que da

Bamboleio
Que faz gingar

O Brasil
Do meu amor

Terra de Nosso Senhor

Brasil

Brasil

Pra mim

Pra mim

O esse coqueiro que da coco

Aonde amarro a minha rede

Nas noites claras de lua

Brasil

Brasil

O oi essas fontes murmurantes

Oi onde eu mato minha sede

E onde a lua vem brincar

Oi, esse Brasil lindo e trigueiro

E o meu Brasil brasileiro

Terra de samba e pandeiro

Brasil

Brasil

Pra mim

Pra mim

(SAMBA)

What happened?
Where am I?

What's going on around here?

(LAUGHING)

Boy, this is fun!
(SQUAWKS)

(SPUTTERING)

Uh-oh!

What's this?
A parrot?

(SAMBA)

Cavalheiro,
aqui esta o meu cartao.

DONALD: (MISPRONOUNCES WORDS)
"Jose Carioca.

Rio de...

Janeiro, Brasil."

Nao, senhor.
Jose Carioca.

Rio de Janeiro, Brasil.
Tem um dos seus?

- Huh?
- Tem um dos seus?

My card? I know I brought
one from the States.

Ah! There you are.

Muito obrigado.

Donald Duck?

O Pato Donald!
O Pato Donald!

(QUACKING)

(LAUGHING)
Ora, venha de la um abraco,

um quebra costelas,
um bom carioca,

bem amigo, seja bem-vindo,
meu caro.

O Pato Donald!
Veja voce.

Vamos sair por ai.
Vai conhecer o Rio.

Vamos a todos os lugares.
Vamos a Tijuca, Copacabana,

Salgueiro, Laranjeiras,
Botafogo, Andarai, Meyer,

Jardim Botanico, Furnas,
Campos de Sant'Ana, Cinelandia,

Praca Onze, Sao Cristovao, Niteroi,
Paqueta, Avenida Atlantica,

Leme, Leblon, Gavea,
Pao de Acucar, e ao Corcovado!

- Or as you Americans say...
- Huh?

- JOE: "Let's go see the town."
- Okay, Joe!

Where do we go?

Donald, I will show you
the land of the samba!

Samba?
What's samba?

Ah, the samba!

(SAMBA)

(FLUTE)

(FLUTE CONTINUES)

(ACCORDION)

(NO FLUTE SOUND)

(STILL NO FLUTE SOUND)

(ACCORDION)

(SAMBA CONTINUES)

(GUITAR)

- (CYMBAL CRASHES, SONG ENDS)
- Ah, soda pop!

Nao, cachaca.

Que tal uma
cachacinha agora?

- Saude.
- Down the hatch, Joe!

(BELLS RINGING)

- Muito obrigado.
- Oh.

(HICCUPPING)

Donald, now you have
the spirit of the samba!

(TAPPING SAMBA BEAT)

(MUSIC PLAYS)

(CYMBAL CLASHES)

(SAMBA CONTINUES)

DONALD: Oh, boy! Oh, boy!
Oh, boy! Oh, boy! Samba!

Oi, esse Brasil lindo e trigueiro

E o meu Brasil brasileiro

Terra de samba e pandeiro

Brasil

Brasil

Pra mim

Pra mim