the death of Arnaldo Jabor on Tuesday morning (15) it spread commotion among the public of admirers, artists and journalists from all over Brazil. After the confirmation of the filmmaker’s death at age 81 due to complications from a stroke, actors and colleagues who worked with Jabor in films from the 1960s, 70s and 80s recalled important moments in the director’s career.
Although journalism spans the entire trajectory of Arnaldo Jabor and made him a well-known figure to the general public, his contribution to cinema left memorable marks in the history of Brazilian audiovisual.
His involvement took place at the instigation of the Alagoas filmmaker Cacá Dieguesone of the founders of Cinema Novo – a cultural movement that emerged in the 1960s and valued productions that portrayed the Brazilian social reality.
In an interview with CNN, Cacá Diegues spoke about the death of his friend. “He was not only a co-worker but also a close friend, a brother, practically. He was a very important person in my life and for Brazilian culture as well,” he said.
“Jabor was a permanently boiling soul, he was a guy who was always seeing what was going wrong in the country. He was very cultured, very educated, and had a great ability to understand and formalize his criticism of all this”, he praised, highlighting his importance for the country’s audiovisual scenario.
“He was a great filmmaker. He brings great news to us, which is this ability to relate to the public, and that was very important and was part of his personality as a writer, as a journalist, as a critic”, he added.
The actress Fernanda Montenegrowho starred in the film “Tudo bem” (1978), directed by Jabor, released a video on Instagram talking in an emotional and nostalgic tone about his friend and co-worker.
“I remember that in ‘All Right,’ the movie I made, we didn’t have any money, but there was intense devotion in that cast. Paulo Gracindo, Regina Case, [Paulo César] Peréio, Fernando Torres, Zezé Motta. Sonia Braga in ‘Eu te amo’. And Fernanda Torres won the Cannes award for actress, very young, her first film reaching overseas like this”, recalled the veteran.
“I love the movie we made together. Master. Crazy, but in a poetic transcendence like all his cinematographic work. A big hug, my dear friend, trigger of a cinematic life to which I suddenly found myself drawn. I owe you this confirmation that I could do cinema”, continued the actress.
Fernanda Torres, who was awarded Best Actress at the Cannes Film Festival for her performance in “I Know That I Will Love You” (1986), also lamented the loss in a post on her Instagram. “Arnaldo Jabor was an ironic, lucid and passionate provocateur. I have and will miss his majestic presence,” he declared.
Jabor was remembered by many for an exceptional ability to express ideas and direct complex and forceful criticism of his time, through artistic and argumentative expression.
In conversation with CNN, the politician and jurist José Gregori, former National Secretary for Human Rights, defined the journalist and filmmaker as a basic figure to define a worthwhile Brazil. “He was a great artist who, through cinematography, editorial power, the courage to say the things he believed in, knew how to put his finger on what needed to be said. Jabor had the impetus of egalitarian thinking,” he highlighted.
Cinema Novo and Arnaldo Jabor
Cinema Novo was a cultural and artistic movement criticizing the social inequalities and political instabilities of the 1960s in Brazil, influenced by notably subversive European currents, such as Italian neorealism and the French Nouvelle Vague.
Initiated by a group of young filmmakers made up of names such as Glauber Rocha, Nelson Pereira dos Santos, Ruy Guerra, Cacá Diegues and Luiz Carlos Barreto, the movement sought to oppose the type of cinema produced in Brazil until then, very guided by the Hollywood model and often financed by foreign producers and distributors.
Cinema Novo is commonly divided into three distinct phases: the first preceded the establishment of the military dictatorship in Brazil and sought to expose the reality of poverty in the country. One of the opening milestones of the movement was the film “Cinco Vezes Favela” (1961), directed by Cacá Diegues, Joaquim Pedro de Andrade, Leon Hirszman, Miguel Borges and Marcos Farias. “Deus e o Diabo na Terra do Sol” (1964), by Glauber Rocha, is also part of the first period of Cinema Novo.
In the second phase of the movement, already under the military regime, the productions delved into narratives about the common problems of the Brazilian middle class. The third phase, after the AI-5 decree, was characterized by the intertwining with Tropicalismo, bringing a more striking aesthetic.
In dialogue with the second phase of cinema novo, Arnaldo Jabor directed productions that recorded in documentary and fiction the mentality and dilemmas of the average Brazilian in the great Brazilian capitals. Among the most outstanding productions of Arnaldo Jabor’s career are the features “Tudo bem” (1978), “Eu te amo” (1981) and “Eu sei que vou te amar” (1986), which are part of the so-called Apartment Trilogy. Check out the gallery below with the filmmaker’s main films.
Source: CNN Brasil
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