Artemídia, seis filmes de Maurice Capovilla a partir do olhar de um cineasta
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Data
2021-11-11
Autores
Silva, Rogério Corrêa da
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Universidade Estadual Paulista (Unesp)
Resumo
Maurice Capovilla (1936 - 2021) foi um dos realizadores do Cinema Novo, que vigorou no Brasil na década de 1960, rompendo com os padrões clássicos do cinema brasileiro. O movimento pode ser caracterizado como uma radicalização do cinema autoral, no qual o cineasta exprime sua visão de mundo, assinando o filme. Capovilla começou como cineclubista em São Paulo, a convite de Paulo Emilio Salles Gomes e Rudá de Andrade vai trabalhar na Cinemateca Brasileira, e tem a oportunidade de estagiar na Escola Documental de Santa Fé (Argentina), criada por Fernando Birri. A partir daí constrói uma longa trajetória como roteirista e diretor de filmes para cinema e TV, cujo tema preferencial são os “heróis de pés de barro”, nome dado por ele aos personagens que lutam pelos sonhos, mas que não conseguem concretizá-los. A pesquisa analisou parte da obra de Capovilla, aquela ligada à produção independente, tendo como objetivo identificar os "heróis de pés de barro", o diálogo entre documentário e ficção e os aspectos clássicos e modernos. Os filmes selecionados foram: Subterrâneos do futebol, Bebel, garota propaganda, O profeta da fome, O jogo da vida, Harmada e Nervos de aço. A metodologia utilizada foi a decupagem escrita dos filmes plano a plano, e a divisão e análise cena a cena. Este detalhamento foi complementado por entrevistas com cineastas contemporâneos de Capovilla e um participante de sua obra sua, que me ajudaram a entender como elas foram realizadas. A partir daí utilizei os meus conhecimentos de cineasta, bem como minha experiência como diretor de produção de O jogo da vida e conceitos emitidos por vários autores, para comentar os filmes.
Maurice Capovilla (1936 - 2021) was one of the directors of Cinema Novo, which took effect in Brazil in the 1960s, breaking with the classic standards of Brazilian cinema. The movement can be characterized as a radicalization of authorial cinema, in which the filmmaker expresses his view of the world, signing the film. Capovilla started out as a film club in São Paulo, invited by Paulo Emilio Salles Gomes, and Rudá de Andrade will work at the Cinemateca Brasileira, and has the opportunity to intern at the Santa Fé Documental School (Argentina), created by Fernando Birri. From there, he built a long trajectory as a screenwriter and director of films for cinema and TV, whose main theme is the “heroes with clay feet”, the name he gave to the characters who fight for their dreams, but who are unable to make them come true. The research analyzed part of Capovilla's work, that linked to independent production, aiming to identify the "heroes with clay feet", the dialogue between documentary and fiction, and classic and modern aspects. The selected films were: Football Undergrounds, Bebel, Propaganda Girl, The Prophet of Hunger, The Game of Life, Harmada and Nerves of Steel. The methodology used was the written decoupage of the films shot by shot, and the split and scene-by-scene analysis. This detail was complemented by interviews with contemporary Capovilla filmmakers and a participant in his work, which helped me to understand how they were made. From there, I used my knowledge as a filmmaker, as well as my experience as a production director for The Game of Life and concepts issued by several authors, to comment on the films.
Maurice Capovilla (1936 - 2021) was one of the directors of Cinema Novo, which took effect in Brazil in the 1960s, breaking with the classic standards of Brazilian cinema. The movement can be characterized as a radicalization of authorial cinema, in which the filmmaker expresses his view of the world, signing the film. Capovilla started out as a film club in São Paulo, invited by Paulo Emilio Salles Gomes, and Rudá de Andrade will work at the Cinemateca Brasileira, and has the opportunity to intern at the Santa Fé Documental School (Argentina), created by Fernando Birri. From there, he built a long trajectory as a screenwriter and director of films for cinema and TV, whose main theme is the “heroes with clay feet”, the name he gave to the characters who fight for their dreams, but who are unable to make them come true. The research analyzed part of Capovilla's work, that linked to independent production, aiming to identify the "heroes with clay feet", the dialogue between documentary and fiction, and classic and modern aspects. The selected films were: Football Undergrounds, Bebel, Propaganda Girl, The Prophet of Hunger, The Game of Life, Harmada and Nerves of Steel. The methodology used was the written decoupage of the films shot by shot, and the split and scene-by-scene analysis. This detail was complemented by interviews with contemporary Capovilla filmmakers and a participant in his work, which helped me to understand how they were made. From there, I used my knowledge as a filmmaker, as well as my experience as a production director for The Game of Life and concepts issued by several authors, to comment on the films.
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Cinema brasileiro, Diretores de produtores de cinema, Roteiristas cinematográficos, Brazilian cinema, Film directors and producers, Screenwriters