Tico-Tico no Fubá [ˈtʃiku ˈtʃiku nu fuˈba] is the title of a renowned Brazilian choro music piece composed by Zequinha de Abreu in 1917. Its original title was.Tico- Tico no Fub. ГЎ (1. 95. 2) - IMDb"Tico- Tico no Fubá" is supposed to portray the life story of Brazilian composer Zequinha de Abreu (1.
![]() Tico Tico No Fubá在线试听,Pepeu GomesTico Tico No Fubámp3下载,酷我网提供Tico Tico No Fubá歌词,Pepeu GomesTico Tico No Fubá高清MV。李白Pepeu Gomes酷我. Tico-Tico no Fubá,一首巴西乐曲。周末与老陶一起在乡下喝茶,鸡犬相闻间弹着小尤。手机录音。 Tico-Tico no Fubá Tico tico 音乐频道. Anselmo Duarte, but nothing could be less accurate. He is portrayed here as some kind of misunderstood music genius - - we see Beethoven's bust on his piano and he literally sweats and shouts to make his band musicians get things right. He can't decide whether to marry his small town sweetheart Durvalina (inexpressive Marisa Prado) or to elope with beautiful circus horse- rider/ballerina Branca (gorgeous Tonia Carrero, sadly wasted). One evening, at the circus, Branca inspires him to improvise the catchy melody of the title song, which he eventually somehow manages to forget entirely, until, years later, it suddenly comes back to him just minutes before his untimely death. In reality, Abreu was a moderately successful composer/band- leader from small town Santa Rita do Passa Quatro (near São Paulo), who wrote mostly simple waltzes, "choros" and polkas and composed the title song in 1. FAR from anything Beethovenian. The instrumental theme "TIco- Tico no Fubá" enjoyed a mild success in dancing rooms of São Paulo and Rio de Janeiro in the 2. Abreu was already dead by then) a version with lyrics became a big hit in Brazil with virtuoso "choro" singer Ademilde Fonseca. Then in 1. 94. 3 it suddenly became an international hit when organist Ethel Smith played it in Walt Disney's animated film "Saludos Amigos", later reinforced by Carmen Miranda's zestful rendition of the song in "Copacabana" (1. The younger generation may recall Brazilian actress Denise Dumont singing it on- screen in Woody Allen's "Radio Days" (1. Cubanized version, with Tito Puente's percussion. Abreu was married to Durvalina (who was NOT from his hometown) from the age of 1. Branca (the "muse") is fiction - - in fact, "Branca" is the title of one of his waltzes. Hardly anything you see in the film really happened the way it's shown. Well, to be fair with the guys who made the film, there's a warning in the opening credits stating what we're about to see is a "romanticized" (i. This is a terribly dated film, a fake biography with confusing script, awful dialogues, cliché plot, cardboard characters and awkward performances (especially by lead actor Anselmo Duarte, too old for the part and very unconvincing as a "naive" young man of genius), making it hard to be enjoyable in any level today, not even as a nostalgic relic. The DVD has not been restored, so the images are mostly blurred, dark or flat, and the sound is terrible. Italian director Adolfo Celi was pretty inexperienced then — this was the second film he directed (he would make just one more, 1. Italy). During "Tico- Tico", he fell in love with its star Tonia Carrero, they got married and formed - - with actor Paulo Autran - - a successful theater company in São Paulo. When Celi and Carrero separated (1. Europe and began a belated but winning international career as a character actor in films like "L'Homme du Rio" (1. The Agony and the Ecstasy" (1. James Bond villain in "Thunderball" (1. European films in the 7. Tico- Tico no Fubá" was the most expensive Brazilian film ever produced as of 1. VERA CRUZ Studio. A full town square was entirely built for "Tico- Tico", and though there are many crowd scenes (awfully messy!), the film looks unarguably cheap. That's because most of its budget was wasted on nearly one year of endless re- shooting. Most of the footage ended up on the cutting- room floor and as a result the scenes don't gel, the story is told in "jumps", despite the efforts of renowned editor Oswald Haffenrichter of "The Third Man" fame. VERA CRUZ Studio was a wildly ambitious Hollywood/Cinecittà- like project which aimed to bring European movie industry's state- of- the- art equipment, technology and personnel to Brazil. It was put together in 1. São Paulo. They persuaded renowned UK- based Brazilian director/producer Alberto Cavalcanti (director of the magnificent ventriloquist episode of Hammer's "Dead of Night", among many other fictions and documentaries) to be the new studio's head of production/ artistic supervisor. Huge stages were built in São Bernardo do Campo (near São Paulo), expensive modern equipment bought, a fortune was spent in publicity, European directors and technicians were imported and kept on high salaries (Yugoslavian editor Haffenrichter, Italian actor/director Adolfo Celi, British cinematographer H. E. "Chick" Fowle, French writer Jacques Maret, Italian art directors Pierino Massenzi and Aldo Calvo, etc). As a result, Vera Cruz film budgets skyrocketed and - - combined with inexpert accounting, high taxes, media over- hype and profit shares going to international majors for distribution - - led to the studio's bankruptcy only 6 years and 1. Brazilian filmmakers and reinforcing their agenda for the Cinema Novo (New Cinema) movement in the beginning of the 1. Vera Cruz Studios had stood for. Furthermore, it can't be denied that the studio's artistic results were mostly mediocre, with the possible exception of dated but historically important "O Cangaceiro" prize- winner of Best Adventure Film at 1. Cannes Film Festival. Sit through this only if you're REALLY interested in Brazilian film history or if you're beautiful Tonia Carrero's die- hard fan (my case); otherwise, don't waste your time, it's sadly disappointing and plain boring. My vote: 2 out of 1. Tonia (though you deserve a thousand).
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