I was really impressed not only by the great archive footage presented but also in hearing and seeing plenty of unfamiliar names of actors and directors who had an
international career in Hollywood with many projects since I always thought Carmem Miranda was the only main reference - she gets a special part devoted to her films
near the end but she wasn't alone, and the film shows the artists, their films which works as an invitation to discover their work or at least what's available to find;
and more special comes the fact that the Brazilians presence in the town came way before 1940's.
Obviously that the mecca of cinema has its prejudices over certain cultures, back then foreigners played foreigners showing distinctive qualities of each country, and while Miranda was born in Portugal she lived most of her life in Brazil and embraced its culture to the point of becoming an unofficial cultural ambassador (though her presence was a mere charicature of Brazil as a colorful and musical place). But gotta admit, they gave us some space, some presence and importance.
It's a pity the film never addresses the issue neither establishes why Brazilian artists had those opportunities, specially during World War II. Reason given was the cultural proximity Roosevelt wanted to have with Brazil since Vargas administration was neutral on the early stages of war and considering social/political aspects and the massive territory down South, we could be an important ally. Destiny favored Brazil in the early 1940's when Nazi forces started to sink ships on the Brazilian Northeast coast and a decision was made. FDR's exchange policies also benefitted economy and investments, and the U. S. cultural department even sent Orson Welles to film documentaries in Brazil, of which he shot plenty of things, had a lot of fun but didn't deliver a finished project - his visit is legendary and resulted in several small projects over the decades. Gladly, the result worked for all parties and American audiences fell in love with an unknown culture and mostly fell in love with Carmem Miranda and her South American Way.
The film shows that there wasn't much of a case of prejudice as sometimes I think it existed back then while embracing another culture or making them welcome to show their art - though after Carmem's death there wasn't much Brazilian contribution or artists there except for musicians showing Bossa Nova - the 1960's had plenty of great filmmakers during the Cinema Novo movement yet none of them were called for anything there; some went to film on Europe. Talents were shared very early on, though slightly limited but it existed, it can be viewed even today and cinema world is grateful for such partnership. 7/10.
Obviously that the mecca of cinema has its prejudices over certain cultures, back then foreigners played foreigners showing distinctive qualities of each country, and while Miranda was born in Portugal she lived most of her life in Brazil and embraced its culture to the point of becoming an unofficial cultural ambassador (though her presence was a mere charicature of Brazil as a colorful and musical place). But gotta admit, they gave us some space, some presence and importance.
It's a pity the film never addresses the issue neither establishes why Brazilian artists had those opportunities, specially during World War II. Reason given was the cultural proximity Roosevelt wanted to have with Brazil since Vargas administration was neutral on the early stages of war and considering social/political aspects and the massive territory down South, we could be an important ally. Destiny favored Brazil in the early 1940's when Nazi forces started to sink ships on the Brazilian Northeast coast and a decision was made. FDR's exchange policies also benefitted economy and investments, and the U. S. cultural department even sent Orson Welles to film documentaries in Brazil, of which he shot plenty of things, had a lot of fun but didn't deliver a finished project - his visit is legendary and resulted in several small projects over the decades. Gladly, the result worked for all parties and American audiences fell in love with an unknown culture and mostly fell in love with Carmem Miranda and her South American Way.
The film shows that there wasn't much of a case of prejudice as sometimes I think it existed back then while embracing another culture or making them welcome to show their art - though after Carmem's death there wasn't much Brazilian contribution or artists there except for musicians showing Bossa Nova - the 1960's had plenty of great filmmakers during the Cinema Novo movement yet none of them were called for anything there; some went to film on Europe. Talents were shared very early on, though slightly limited but it existed, it can be viewed even today and cinema world is grateful for such partnership. 7/10.