Customer Reviews

Black Orpheus: Essential Art House

5 star:		(81)
4 star:		(10)
3 star:		(3)
2 star:		(3)
1 star:		(2)

 

 

Do they clean the streets in Rio De Janeiro? Well, of course they do. When this carnival is over.

And if you watch this movie you will see that they do it very near the end of the last reel, as in the morning when the truck comes round spraying water, just one of a thousand little details that director Marcel Camus got right, and one of the most insignificant. But it is from a multiplicity of detail that an edifice of cinematic genius is constructed.

The true brilliance of Black Orpheus lies in the people who live on the side of the cliffs overlooking the harbor at Rio. It is their energy that prevails. Then there is the color, the costumes, the pounding rhythms, the spectacular vitality of life that is depicted as a carnival of dance and song in which we are driven along as on a wave. And yet there is the constant reality of death. And it strikes in ways we cannot comprehend, fatalistically, and we are helpless to do anything about it. And then Orpheus sings, a new Orpheus perhaps, and the sun rises again, and a little girl in white, looking like Eurydice in miniature, begins to dance as the little boy Orpheus plays his guitar, telling us that time has come round again.

Well, that's the plot as adapted by screen writer Jacques Voit from the play by Vinicius d Moraes as divined from the Greek mythology. Supporting this arresting conception is the music by Antonio Carlos Jobim and Luis Bonfa. I recall the former as the composer of bossanova who gave us "The Girl from Ipanema" and made the samba international. Starring in the title role as the streetcar conductor who is loved by all is Breno Melo, who might be seen as the natural man and native of paradise. The very pretty Marpessa Dawn plays Eurydice, an innocent from the country who falls in love with Orpheus and his song. Lourdes de Oliveira plays his intended, Mira who is hot blooded, vital and beautifully ordinary. But the actress I recall most vividly from the time I first saw this in the sixties was Léa Garcia who played Serafina. Her exuberance and comedic flair struck me as something completely different from anybody I had ever seen before. And then there are the boys who follow Orpheus around and emulate his every move. With their torn shirts and unflagging optimism, they represent the new day that will dawn.

If you haven't seen this strange and beautiful film, you are in for a singular experience. There is nothing else like it that I know of. And it is as fresh today as when it was made almost half a century ago.

A lot of people were surprised when this won for Best Foreign Language Film at the 1959 Academy Awards. It hadn't been widely seen, except for winning at Cannes, it was a French director with a Portuguese-language film, with a black cast. (I've been to Rio and there's no racism, though some class-ism and other political nonsense). I saw this film in the 60's and loved it for its sincerity and profound lesson. I was in high school, and didn't really know much about the Orpheus legend. I was taken in by the narrative presented by Marcel Camus, and never forgot it. I subsequently visited Rio, and watching this film is most interesting, because it's about real people (not what the tourists see), but the exquisite photography not only shows vast vistas of Copacabana and Ipanema Beaches, but vivid colors, as well as how seriously the Cariocas regard "Carnaval". Bruno Mello (Orpheus) was a handsome soccer star, and a fine actor. Marpessa Dawn, as Eurydice, is really excellent (according to liner notes, she was from Pittsburgh). A real natural. An interesting thing to notice is that, even when looking though an open door, there are great shots of the beaches, Rio's finest feature. I also attended a Macumba ceremony while there, and the one depicted in the film let me know that mine wasn't a fake. Then there's the brilliant score by Jobim and Bonfa, which, by now, has become standard/classic. The music truly carries the film, the acting is first-rate, and the use of color by cinematographers Louis Stein & Rene Persin is breath-taking. This is indeed a great film with humor, a few scares, great love story, and just about everything anyone would want. The music alone will entertain; everything else is like a fine sauce over an excellent entree.

A wonder-filled whirl of color and sound, this movie will provide a boost for the hopeless romantic. The never-ending love story of Orpheus and Eurydice is regenerated in "modern" Rio during Carnival. Beautifully photographed with an excellent sound track, this movie is a must-see for any serious film connoisseur.

Links to the original Greek tragedy will test your knowledge of mythology and the trip to "Hades" with its voodoo incantations will stick in your mind like a fever-induced dream. The beauty and rhythm of this film will make you think of your first true love, and, if you're one of the lucky ones out there, make you glad you never let that person go.

I first saw Black Orpheus in New Orleans. One of my life's fondest memories is viewing this film at a local repertory theater. Whenever there were carnival street scenes, balcony-bound moviegoers would let loose with Mardi Gras beads and doubloons, adding to the carnival atmosphere.

Also, although I have a copy of the subtitled Orpheu Negro, which I would never part with, I have seen a dubbed version, only once and then on television. I would very much like to acquire a dubbed copy. Can anyone out there help? I remember there being much more to the story line revealed with the dubbed version. (For example, when at the pawn shop, as patrons are passing the guitar down to Orpheus, they are saying, "This is for Orpheus. This is for Orpheus." This phrase is transposed from person to person into "This is Orpheus. Here's Orpheus.", giving the guitar mystical properties and seeming to make it the embodiment of the spirit of Orpheus. Inscribed on the guitar are the words "Orpheus is my master."

I would give this film my highest recommendation and would encourage anyone to view it at least one a year.

rmelhorn@aol.com

This film is a re-telling of the Orpheus legend, set in Rio during Carnival (Brazilian Mardi Gras). An unremitting stream of bosa nova rhythms serves as a pulsebeat, quieted only during interludes of lyric beauty -- and a few of numbing horror. Not everyone is captivated by the film, however. It's a bit clumsy in its translation of the myth, and the sentiment verges at times on the sentimental. For those open to the charms of an innocent love story, ravishing music, and a dazzling carnival setting, Black Orpheus is an unparalleled experience. PS -- Important to see the subtitled version, rather than an earlier English dubbing; the sound of Portuguese, spoken and sung, is essential to the film's "music." -- JJR

The classic film that brought Brazil's bossa nova music to the world outside, this was a wry modernist update of the classical Greek myth of Orpheus and Euridyce, the starcrossed lovers whose passion could not be denied, even by all the powers of Hell. The film is adapted from a bold stage play written by Brazilian poet Vinicius De Moraes, who enlisted a then-unknown Antonio Carlos Jobim to compose the classic bossa tunes that stud the films soundtrack. In this version, Hell is a blend of the futurist modernism that created Brasilia, the sterile and unappealing new capital of Brazil, and the heedless bacchanalia of Carnaval; Vinicius's vision of the lower rings of Hades as a bureaucrat's office is a stroke of pure genius. I first saw this film when I was in high school; viewing it again as an adult steeped in Brazilian popular culture, I certainly got a lot more out of it. Although some Brazilians (prominently, Caetano Veloso) chafe at the fact that this version was directed by a European, director Marcel Camus, I think it's still safe to say that it is a brilliantly made film. Heavy on the textual symbolism and, yes, a bit voyeuristic in its depictation of the happy natives dancing to their catchy samba rhythms, but brilliant nonetheless. It also captures a moment in time -- Brazil's transition into a modern nation, and the heady days before the 1964 coup -- in a way that is precious and ineffable.

This movie explodes onto the screen in a riot of color, music, dancing and drama so intense that it blows our minds. It's a retelling of the ancient Greek myth of Orpheus and Eurydice, brilliantly transplanted to the favelas of Rio de Janeiro during Carnival week. The pulsing samba rhythm throughout the movie is so hypnotic that more than once I had to get up and dance while I was watching it at home. And what else could be more hypnotic than Brazil during Carnaval?

"Black Orpheus" brings us a marvelous cast of black actors lead by Breno Mello in the title role and Marpessa Dawn as Eurydice; she is fleeing Death in the form of a sinister stalker and takes refuge with her cousin Serafina, winningly played by Léa Garcia. But Orpheus has a fiancée in the persona of Mira, a sexy bombshell played by Lourdes de Oliveira, who doesn't appreciate Orpheus falling in love with the beautiful and desperate Eurydice. Mira and her friends are the Furies relentlessly hounding Orpheus in the middle of Carnaval, while he tries to protect Eurydice who is being relentlessly stalked by Death. But Death and the Furies are too strong for both of them, and Orpheus can only be reunited with Eurydice in another world.

The marvelous setting in the hills above Rio, the vibrant cinematography, and above all, the brilliant samba music by Luis Bonfa and António Carlos Jobim, all come together to work on our senses until we are totally caught up in the film. This movie is not so much for watching as for experiencing. And even after all the tragedy, we leave the film on a positive note watching the exuberant dancing by three very young children, who remind us that in the midst of death we remain gloriously alive.

Judy Lind

This is a magnificent film beautifully restored and presented on DVD by Criterion. As other reviewers have noted, it is the story of Orpheus and Eurydice updated to Brazil at Carnival time. The photography and sound are superb. The music is outstanding.

The story involves Orpheus, a fun loving ladies man who is finally talked into marriage by his current girl friend. When his neighbor's cousin arrives, Orpheus immediately falls in love with her. She is being pursued by a messenger from the underworld and has fled to Rio to evade him. The interplay among the women is fascinating and wonderfully acted. Against the backdrop of Carnival death finally identifies Eurydice. As she attempts to flee again Orpheus pursues her and inadvertently contributes to her death. His search for her among the numberless archives of the missing persons bureau is one of the most touching moments in the film. As in the myth, he turns around after locating her voice and loses her. His jealous fiancée's rage brings about an additional tragedy. The film closes with Orpheus' guitar being passed to the next generation as the sun rises over Rio.

I first saw this film in the early 1960's in a small art house in college. It moved me then and has never failed to move me since. This gorgeous transfer does the film the justice it deserves. Very highly recommended!

It is difficult to discuss this film without focusing on the music and the spread of bossa nova throughout the world which the film facilitated. The film is as detested in Brasil as it is praised outside of Brasil, but everyone agrees the music (by Antonio Carlos Jobim, Luiz Bonfa, and Vinicius de Moraes) was groundbreaking and beautiful in its day, and remains almost mystical to this day. Let's leave it to the ethnomusicologists and cultural anthropologists to explain the meaning of bossa nova and its impact on the world from the early '60s onward. The music aside, the film is a visual feast. The opening scene has Eurydike (Marpessa Dawn) entering Rio de Janeiro from Niteroi, as the Jobim/de Moraes composition "A felicidade" plays. We see the apprehensive Eurydike experience the sensory assault that is Rio de Janeiro, and we hear all the street noise, the venders, crude percussion, ferry whistles and background chatter, and it is an amazing moment--the perfect blend of sound and image. Marpessa Dawn and Breno Mello (who plays Orpheu) are perfectly cast as the star-crossed lovers, both beautiful lead actors giving performances of quiet depth and power. There is nothing forced about their performances. The stage origins of the piece are often undisguised, especially in the entrances and exits from the scenes (in one, Eurydike's goofy cousin and the spoiled Mira jauntily skip out of the scene). Many critics have focused on how unrealistically the life of the favela is portrayed in this film, especially compared with something like "Cidade de Deus." I have never lived in a favela, but I think this film adequately conveys a portrait of favela life, without trying to become THE portrait. There is a lot of fun and laughter in the course of the film, but death comes quickly and unyieldingly. What distinguishes tragedy from the merely tragic is inevitability, and the ending is no less powerful for being bereft of surprise. We know things aren't going to turn out well for the unfortunate pair, but the film is so intriguing, you can't help but be drawn in to its world. This is one of my favourite films, and I think it will continue to engage audiences for many years.

tragic love triangle story of simple,passionate people in modern day Rio De Janeiro. You will be deeply affected by the plot,unfolding during carnival time,filmed on location.Artfully blending romance and reality,while allowing the viewer to set aside the appalling poverty of Rio's favellas. The musical score is classic in its genre,the scenic ,practically birds eye,views of Rio are breathtaking,and will linger with you long after you watched the final scene. Standig out,among many memorable scenes,is the religious-spiritual ceremony,in which orpheus seeks contact with his loved one,through a clever spiritual medium. Lovers of Brazilian music are sure to enjoy a musical pearl at the beginning,played by a marching band. The movie,to me,is as powerful today,as when I first saw it,a masterful blend of passion and stark reality,based on Greek mythology.

Quite simply, Marcel Camus' sublime "Black Orpheus" is the best representation of the Greek myth of Eurydice and Orpheus ever attempted by an artist. By filling the romantic tragedy with the wonderful music of Brazil and the carnival in Rio de Janeiro, he uplifts the audience into a state of blissfull glee. The film, which won the Grand Prize at Cannes in 1959, is a one-of-a-kind experience, with Death (in a magnificent costume) chasing Eurydice at the Carnival and Orpheus trying to save her. The transfer is absolutely perfect, and the music by Antonio Carlos Jobim and Luis Bonfa is magical, rhythmic and out of this world. It was soon after the release of this perfect film that the Bossa Nova and the Samba were introduced to the world and of course, the rest is history, and the Brazilian music is justifiably known worlwide. Here is your chance to own one of the great classics of international cinema, and one that lends itself to repeated viewings. As usual, the Criterion Collection outdoes itself, giving the world the difinitive, director's cut of "Black Orpheus." The disc also offers improved subtitle translation and remastered sound. In Portuguese with English subtitles.