See Tico Tico no Fubá ( Edição na on youtube.
See William Fourneaut (Assobio) - on youtube.
See 100 anos de Tico-Tico no Fubá on youtube.
See Zequinha de Abreu filme Tico t on youtube.
See Tico Tico no Fuba on youtube.
See Tico Tico no Fubá - O Filme on youtube.
See Mariano Mores [Cumple 94 años] on youtube.
See TICO-TICO NO FUBÁ - Meninas on youtube.
See Tobias Troisi (Violino) - TICO on youtube.
See Tony Murena e sua Orquestra - on youtube.
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One of the first productions of Vera Cruz, about the life of the brazilian composer Zequinha de Abreu (who wrote the popular song "Tico-Tico no Fuba"). Despite his year, the movie didn´t aged so much, but still remained the innocence of that time. In the cast, the future Palm D'Or Champion Anselmo Duarte, here as the leading man, and directing, the future Bond-Villain Adolfo Celi. Worth watch as registry of the Brazilian history.
"Tico-Tico no Fubá" is supposed to portray the life storyline of Brazilian composer Zequinha de Abreu (1880-1935), played by an awfully miscast Anselmo Duarte, but nothing should be less accurate. He is portrayed here as some type of misunderstood melody genius -- we see Beethoven's bust on his piano and he literally sweats and shouts to create his band musicians receive things right. He can't decide whether to marry his tiny city sweetheart Durvalina (inexpressive Marisa Prado) or to elope with pretty circus horse-rider/ballerina Branca (gorgeous Tonia Carrero, sadly wasted). One evening, at the circus, Branca inspires him to improvise the catchy music of the game song, which he eventually somehow manages to forget entirely, until, years later, it suddenly comes back to him just mins before his untimely death.In reality, Abreu was a moderately successful composer/band-leader from tiny city Santa Rita do Passa Quatro (near São Paulo), who wrote mostly easy waltzes, "choros" and polkas and composed the game song in 1917 (at 37, not in his early twenties as in the film) -- 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 20s and 30s, until in 1942 (Abreu was already dead by then) a ver with lyrics became a large hit in Brazil with virtuoso "choro" singer Ademilde Fonseca. Then in 1943 it suddenly became an international hit when organist Ethel Smith played it in Walt Disney's animated movie "Saludos Amigos", soon reinforced by Carmen Miranda's zestful rendition of the song in "Copacabana" (1947). The younger generation may recall Brazilian actress Denise Dumont singing it on-screen in Woody Allen's "Radio Days" (1987), in a somewhat Cubanized version, with Tito Puente's percussion.Abreu was married to Durvalina (who was NOT from his hometown) from the age of 19 until his death at 55, had eight kids (not three as portrayed in the film), and the hero of Branca (the "muse") is fiction -- in fact, "Branca" is the game of one of his waltzes. Hardly anything you see in the movie really happened the method 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.e. fiction!) re-telling of his life, not necessarily real happenings (!!!).This is a terribly dated film, a fake biography with confusing script, terrible 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 boy of genius), making it difficult to be enjoyable in any lvl today, not even as a nostalgic relic. The DVD has not been restored, so the photos are mostly blurred, dark or flat, and the sound is terrible.Italian director Adolfo Celi was cute inexperienced then this was the second movie he directed (he would create just one more, 17 years later, in 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 (1963), he returned to Europe and began a belated but winning international career as a hero actor in movies like "L'Homme du Rio" (1964), "The Agony and the Ecstasy" (1965), as a James Bond villain in "Thunderball" (1965) and in scores of European movies in the 70s and 80s."Tico-Tico no Fubá" was the most expensive Brazilian movie ever produced as of 1952, a major release of then fresh VERA CRUZ Studio. A full city square was entirely built for "Tico-Tico", and though there are many crowd scenes (awfully messy!), the movie looks unarguably cheap. That's because most of its budget was wasted on nearly one year of unlimited re-shooting. Most of the footage ended up on the cutting-room floor and as a effect the scenes don't gel, the storyline is said 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 film industry's state-of-the-art equipment, technology and personnel to Brazil. It was place together in 1949 by a handful of wealthy entrepreneurs from São Paulo. They persuaded renowned UK-based Brazilian director/producer Alberto Cavalcanti (director of the superb ventriloquist episode of Hammer's "Dead of Night", among many another fictions and documentaries) to be the fresh studio's head of production/ artistic supervisor. Large 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 movie 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 18 movies later, paving the method to a radical reaction among young Brazilian filmmakers and reinforcing their agenda for the Cinema Novo (New Cinema) movement in the beginning of the 1960s -- the opposite of everything Vera Cruz Studios had stood for. Furthermore, it can't be denied that the studio's artistic effects were mostly mediocre, with the possible exception of dated but historically necessary "O Cangaceiro" prize- champion of Greatest Journey Movie at 1953 Cannes Movie Festival.Sit through this only if you're REALLY interested in Brazilian movie history or if you're pretty Tonia Carrero's die-hard fanatic (my case); otherwise, don't waste your time, it's sadly disappointing and plain boring. My vote: 2 out of 10; the two stars are just for you, Tonia (though you deserve a thousand).
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