Black Orpheus

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!)

My husband had never seen this film and he loves the Greek Myth of Orpheus and Eurydice...so I thought it was high time that he saw this classic. I took the opportunity of this year's Mardi Gras celebration (2024) to share it with him and fell in love all over again.

I am a huge Antonio Carlos Jobim fan, thanks to my father, and grew up listening and dancing to his music. So, you could say the musical backdrop of this film had a big impact on me in addition to the physical location or backdrop which is absolutely spectacular. If those two things aren't enough to bring you to this film, you can add in a modern retelling of the Greek love story/tragedy of Orpheus and Eurydice.

It is easy to see why this won best foreign film during its time. The Carnival celebration during Mardi Gras is almost a character all of its own as opposed to just being a background theme intertwined with the story. There is so much culture depicted...everything from the preparation, to local bands and troupes or clubs, to the parade itself, to the practice of voodoo or a santaria like religion.

There are a lot of newcomers to acting, but the film doesn't suffer for it. In fact the fresh faces give this film some of its charm. And charming are both Breno Mello (Orfeu) and Marpessa Dawn (Eurydice). The foil to these two innocents is the sultry Lourdes de Oliveira (Mira), she was one of the few cast members with some experience under her belt and I couldn't take my eyes off of her when she was on screen...she was stunning. The two neighborhood boys who end this film together are wonderfully sympathetic and enjoyable strictly for their sweet innocence as they share the joy of a sunrise.

There is some controversy over the portrayal of this Brazilian neighborhood, but controversy or not I think this is a must see for fans of both foreign and classic film.

"Black Orpheus" sets the classic myth of Orpheus and Eurydice against the cacophony of color and music that is a carnival in Rio de Janeiro. The film is as much a celebration of culture as it is a rendering of the Greek story. A love of life comes bursting off the screen as the people in it literally never stop breaking into impromptu singing and dancing, which makes the specter of impending death and doom that haunts the carnival all the more striking in comparison. For the first half of the movie, I thought how wonderful it would be to immerse myself in such a culture, where people are uninhibited and feel so free to express themselves. It's so different from the uptight white American culture to which I belong. But by the end of the movie, the introvert in me was like, "Ok, it would actually be really exhausting to be around that much energy for any prolonged period of time."

I thought the ending of this film was terrific, capturing the cyclical nature of life and death and suggesting that the primary motivations that drive humanity will be carried on forever by those who succeed us.

"Black Orpheus" won the 1959 Academy Award for Best Foreign Language Film.

Grade: A

"Orfeu Negro" places the Orpheus legend in Rio de Janeiro at the time of its Carnival. Marcel Camus' film is fast paced, shot it beautiful color, has lovely and vibrant music (by Luis Bonfa and Antonio Carlos Jobim) and a most attractive cast, particularly the two leads. There is a vital, throbbing tempo established which seems to propel the story forward in an almost choreographic manner. The film remains a quite unique piece of work, with many haunting images.

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.