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Orfeu Negro

  • 1959
  • Tous publics
  • 1h 40min
NOTE IMDb
7,4/10
13 k
MA NOTE
Marpessa Dawn and Breno Mello in Orfeu Negro (1959)
A retelling of the Orpheus and Eurydice myth, set during the time of the Carnaval in Rio de Janeiro.
Lire trailer1:18
1 Video
92 photos
Jukebox MusicalTragedyDramaMusicalRomance

Une nouvelle version du mythe d'Orphée et d'Eurydice se déroulant à l'époque du Carnaval de Rio de Janeiro.Une nouvelle version du mythe d'Orphée et d'Eurydice se déroulant à l'époque du Carnaval de Rio de Janeiro.Une nouvelle version du mythe d'Orphée et d'Eurydice se déroulant à l'époque du Carnaval de Rio de Janeiro.

  • Réalisation
    • Marcel Camus
  • Scénario
    • Jacques Viot
    • Vinicius de Moraes
    • Marcel Camus
  • Casting principal
    • Breno Mello
    • Marpessa Dawn
    • Lourdes de Oliveira
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,4/10
    13 k
    MA NOTE
    • Réalisation
      • Marcel Camus
    • Scénario
      • Jacques Viot
      • Vinicius de Moraes
      • Marcel Camus
    • Casting principal
      • Breno Mello
      • Marpessa Dawn
      • Lourdes de Oliveira
    • 93avis d'utilisateurs
    • 64avis des critiques
    • 81Métascore
  • Voir les informations de production sur IMDbPro
    • Récompensé par 1 Oscar
      • 4 victoires et 2 nominations au total

    Vidéos1

    Official Trailer
    Trailer 1:18
    Official Trailer

    Photos92

    Voir l'affiche
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    Voir l'affiche
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    + 85
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    Rôles principaux25

    Modifier
    Breno Mello
    Breno Mello
    • Orfeu
    Marpessa Dawn
    Marpessa Dawn
    • Eurydice
    Lourdes de Oliveira
    Lourdes de Oliveira
    • Mira
    Léa Garcia
    • Serafina
    Adhemar Ferreira da Silva
    • Death
    • (as Adhemar Feirrera da Silva)
    Waldemar De Souza
    • Chico
    Alexandro Constantino
    • Hermes
    Jorge Dos Santos
    • Benedito
    Aurino Cassiano
    • Zeca
    Maria Alice
    Ana Amélia
    Elizeth Cardoso
    Elizeth Cardoso
    Arlete Costa
    Maria de Lourdes
    Modesto De Souza
    Agostinho dos Santos
    Agostinho dos Santos
    Fausto Guerzoni
    Fausto Guerzoni
    • Fausto
    Tião Macalé
    • Record player seller
    • Réalisation
      • Marcel Camus
    • Scénario
      • Jacques Viot
      • Vinicius de Moraes
      • Marcel Camus
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs93

    7,412.9K
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    Avis à la une

    Vincentiu

    Precious tracery

    Music, Carnaval and love story. All in a mythical Brasil, in soft pagan shadows and old Greek memory. A gentle film about desire and hate, about revenge and death.

    A marvelous film thanks to the precision of details. The soul of ancient tragedy is present. The Latino hubbub, with pre- Christian rites and images inebriation is present too and the movie is result of this subtle fight and wonderful completion.

    It is hard to define a film of this category. Artistic value is part of scenes in personal past and the film is only ladder for a golden age space. So, the gifts of "Orfeu Negro" is perfect refinement, the delicate acting.

    "Black Orpheus" is a precious tracery about human condition.
    issues-1

    A haunting, lovely film

    Black Orpheus

    I saw this film for the first time in the '60s and found it a beautiful

    and poignant retelling of the legend. I thought about it off and on

    over the years, however, since it was never shown on TV, it faded

    from memory. Then in the 1980s, there it was in video format in a

    store. It was very expensive (the most I've paid for one), but I was

    so delighted to find it, I could hardly wait to get it home.

    It was more beautiful and haunting than I remembered. There's a

    special uniqueness in the way the inexorable tragedy plays out in

    such an unorthodox setting. You know how it has to end, but you're

    still drawn into the lives of the characters. How the director ever

    conceived of something so original amazes me.

    This film is a wonderful experience.
    10nettrice

    Voodoo and Samba as the Root of Black Orpheus

    There are so many reasons Black Orpheus is important to cinema. First, how many people know that prior to Marcel Camus making this film the late Orson Welles attempted to capture Rio Carnival but with no story, plot, or script? In 1942, Welles discovered voodoo was at the root of the carnival samba, and started filming in the favelas, the slum shanty towns on the hills of Rio...it was considered by Hollywood to be anti-establishment and dangerous by Brazilian authorities. Thus, Welles was not able to complete his film.

    Samba is a Portuguese form of music, the word was derived from the West African bantu word "semba", meaning "invoke the spirit of the ancestors". Long outlawed as a dangerous expression of black slave culture, samba music eventually gained legitimacy and became a big part of carnival.

    Nearly 20 years later Black Orpheus achieves what Welles was trying for and goes beyond it. To start Marcel Camus had a script to work from whereas Welles was trying to wing it on the spot. Camus successfully recreated the Orpheus-Eurydice myth using the Rio Carnival as the back drop. The main characters retain the mythological names, including the symbolic Death. This works because it is Afro-Latin culture where pagan-Christian names were more evident and because the Carnival itself was such an important part of the story. History manifests as a deja vu, a cyclical progression of event and re-incarnation, understood only by the occultic transformation of samba, trance and possession, for which the Carnival is the engine.

    To those who misunderstand or are ignorant of samba, voodoo, or the Rio Carnival Black Orpheus may seem overwhelming, especially because of all the singing and dancing but samba (and Carnival) is ritual, in its most elementary form it is a raw cacophony of primitive drumming, clapping, chanting... and the droning cries of the dancers who stagger on the edge of the "stage", seeking possession and reincarnation.

    Black Orpheus won the Palm d'Or in 1959 at Cannes. It was seen as progressive because it featured black actors and the pluralist culture of modern Brazil. It also gives outsiders a view inside of a ritualistic, non-Western culture and that is why it was and is so important to cinema.
    8marcin_kukuczka

    Body in Dance and Heart in Love

    Rarely have we encountered movies like this one: a timeless mythical story from Greece brought to screen in Brazilian context, the couple come from the very heart of Brazilian society, from Rio. Yet, what links them is the same sweet feeling that have linked the people for thousands of years no matter what nationality, beliefs or family background. Yes, that is what BLACK ORFEUS offers undeniably. The great romance that bursts out in the magnificence and lavishness of Rio's carnival when, truly, body in dance combines with heart in love. Yet, is that the only reason for calling this movie classic? As a matter of fact, there have been lots of love stories on screen that were quickly forgotten. What is, in fact, the very uniqueness of BLACK ORFEUS that differs it from other movies and that makes it an interesting cinema production after all these years?

    We could say, though ridiculous this may seem, that it is everything about this movie that makes it a timeless work on screen. Yet, such a generalized view may, of course, result in simplification and confusion. There are specifically two factors that make BLACK ORFEUS significant or still worth attention: the first one aforementioned timeless love story uniquely and accurately put in the context of Brazil, which, in itself, must have been a challenge due to its innovative nature but the task was beautifully crafted by the director; the second being the cinematography of the movie which still, after almost 50 years, appears to be astounding. Those two aspects, for many viewers, constitute this "everything." This enthusiasm may be compared to a beautiful painting you admire thanks to its exquisiteness. In the same way, any film which has an interesting story and is visually stunning occurs to be an unforgettable work of art. And indeed, BLACK ORFEUS is a lovely visual work, the colors are stunning and the imagery is brilliant. The gorgeous views of Rio, the beautiful moments of sunrise and the charming views of little houses overwhelm even the most cynical viewers. But what about the rest?

    Such aspects like performances or action cannot be analyzed in terms of modern cinema, according to what we find in the majority of Hollywood productions. Acting is superb yet their evaluation is exposed to certain opinions that not necessarily occur consistent. These are all Brazilian actors, many of whom are unexperienced when concerning "grand cinema" but this very fact appears to be beneficial for the film since their performances result in authenticity and freshness. You really have a feeling that you watch real people in the very circumstances of the carnival in Rio and their love is genuine. There is a perfect chemistry between Breno Mello as Orfeus and Marpessa Dawn as Eurydice. They beautifully fit to their roles and even their life stories proved that mysterious link. Consider that they both died the same year... Lourdes Oliveira gives rather a funny performance as Mira but is also memorable.

    IL ORFEU NEGRO is a very valuable film, a sweet and authentic love story that will for long maintain in your memory as body in dance during the carnival and heart in love during romance. I highly recommend it hoping that like the song of Orfeus was capable of bringing sunrise to the world, this movie will bring in many people the rise of quest for beauty and a profound admiration of tenderness. Only then we can find simple things unusual just like the little boy who perceived his kite as the beautiful sun.
    10DennisLittrell

    One of the classics of world cinema

    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 way 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 Beno 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 classic of world cinema, 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.

    (Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Breno Mello was a soccer player with no acting experience at the time he was cast as Orfeu. Mello was walking on the street in Rio de Janeiro, when Marcel Camus stopped him and asked if he would like to be in a film.
    • Gaffes
      When Eurydice faints in the arms of Orfeu; her left arm is straight resting just above his right elbow. But on the next cut the orientation of her arm changed and is now bent and resting just below his elbow. Then on a following cut her arm changed position again.
    • Citations

      Orfeo: Try to remember. It's a very old story. Thousands of years ago, Orpheus was sad and melancholic, like this little bird trapped in its cage. But one day, from the strings of his guitar that sought only one true love, a voice spoke to him of lost kisses from the lips of Eurydice. Eurydice's lips trembled anxiously, and her mouth opened slightly like a fragrant flower -

      [tries to kiss Eurydice and she pushes him away]

      Orfeo: No, you're too young to remember!

      Eurydice: But I do. I remember the words you sang.

      Orfeo: They were the same words.

      Eurydice: That's right. But it was the melody I liked best.

      Orfeo: [Eurydice leaves, Orfeo follows, finds her sitting on a rock looking at the landscape with a tear in her eye] Forgive me, Eurydice.

    • Connexions
      Featured in A Huey P. Newton Story (2001)
    • Bandes originales
      Generique
      Traditional folklore, played over opening titles

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    FAQ16

    • How long is Black Orpheus?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 12 juin 1959 (France)
    • Pays d’origine
      • Brésil
      • France
      • Italie
    • Langue
      • Portugais
    • Aussi connu sous le nom de
      • Orphée noir
    • Lieux de tournage
      • Rio de Janeiro, Rio de Janeiro, Brésil
    • Sociétés de production
      • Dispat Films
      • Gemma Cinematografica
      • Tupan Filmes
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 40 minutes
    • Rapport de forme
      • 1.37 : 1

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    Marpessa Dawn and Breno Mello in Orfeu Negro (1959)
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