The Black Celebration of Colors

Black Orpheus

Marcel Camus

Brazil

1959

Truly a spectacle of life to behold, this Brazilian-French-Italian production film is an intoxicating classic about the story of Greek mythology’s beloved characters Orpheus and Eurydice into the contemporary milieu of Rio de Janeiro. Beyond any doubt, Marcel Camus’s “Black Orpheus”, which deservingly won the coveted Palm d’Or in 1959 Cannes Film Festival, is one of the most strikingly photographed pictures in the entire history of cinema. Astounding sputter of energy, passion and wallow has transmuted the magic of mundane life and romance into an unforgettable cinematic expression and experience. More than a river that is teeming with fish; this film possesses an insurmountable amount of human spirit through the physical backdrop of Rio de Janeiro’s famous and fabulous Carnaval--a round the clock party uniting creativity, music, joy and common unity in the occasion of the last 5 days leading to the Lenten season. Moreover, the music of Afro-Brazilian’s greatest contribution to the international popularity of Brazil—their Bossa Nova, has simply made the film more enchanted and vibrant.

Oprheus and Eurydice in the most popular scene among the many beautiful scenes in Black Orpheus. Notice how th hazy mountains at the background suggests the vastness of space the lens of the camera is covering. The banana tree at the left side covers the space Eurydice's face is forwarded to. Also notice the slope created by the banana leaves, Eurydice's head and shoulders, and Orpheus's head, left arm, and right leg. That slope is perpendicularly complimented by the wooden gate of their backyard. 

The ultimate arsenal of Camus’s sophomore movie is its breathtaking cinematography. Probably not in terms of camera movement and technique, but more on the composition, the shadows, the colors, and that which makes it fully outstanding—depth of space. Extending this full fledged beauty is the fact that this beauty maintained its seamless and excellent photography until the very end. In fact, the final scene where the two kid sidekicks of Orpheus and another young girl are playing and singing at the disposal of a new day, where they have truly convinced themselves that playing the guitar makes the sun rise just like how Orpheus do it, is a marvelously captured moment.

A very long shot of the Carnaval's afternoon parade.

Subtlety of shadows in most frames is a very nice technique to render sprightliness. Interesting is the fact that shadows have been controlled and not been overused. Even more interesting is how a single frame is set to be photographed. The composition of elements in “Black Orpheus” is not as conventionalized as Hollywood’s narrative cinema, nor as impressionist as the usual French cinema can get, and nor as radical as independent cinema of any nation can be. Instead, it is a composition that traces its root from a different art medium that happens to be the fore-runner of what we call movies today—photography. The variety of the elements on the frames is just blowing me out of my socks. The very first scenes when we are being introduced to the community that will soon celebrate Carnaval are more than enough of a reason to praise the whole photography in the film. It is a sequence of the most ostentatious and the most stylized framing I think I have ever seen. Fortunately, the film is not all about flamboyance. There are many scenes that are very simple in terms of the number of elements present which shifts the tone from loud to silent and tender. And the most interesting part of the photography is its creation of depth in the space a frame suggests. Achieving this requires the prudent use of aforementioned lighting and composition, thus letting us to realize how the relationship between photography principles has been penultimately ascertained for the greater purpose of cohering it to the entirety of the film. The only thing that seems to be inadequate for me is the variety of camera shots. The film is embroidered by establishing shots, very long shots, long shots, and medium shots. Close-up shots could have provided more opportunity to unravel more each of the characters involved at least in camera terms. Probably it is the shot that cinematographer tried to avoid for the camera philosophy of panoptic scale the film has. Whatever it is though, I still have to admit that the cinematography of “Black Orpheus” absolutely compliments the festal and across-the-board atmosphere of the story.

 Orpheus defending Eurydice from the man in Death's costume. Look how dynamic the composition of this frame is. The shadows of the two men are prominent at the left side covering that supposedly empty space. The use of deep focus is breathtaking; take a look at how Eurydice is positioned between the men, one trying to kill her and one trying to defend her. The crucial yellow light on her face and  the sharply contrasted shadows of the weeds contribute to the creation of deep space between the camera and Eurydice. 

There is no denying though that while this Cannes Film Festival Palm d’Or winner is visually staggering and entertaining, the tendency for its content to be a subordinate of its form has honestly gave in. The narrative is simple but at times, it feels like it is already bordering to dragging if not only for its visual exuberance. Sometimes, it feels as if the plot is a mere consequence of the necessity to move the story forward. Having said that, I honestly wish that I am simply exaggerating this part. The film has a concrete story; it is just that I find the structure a little lingering on the development and too abrupt on the tragedy-proper. Knowing that the story is based on a Greek mythology tragedy, I was expecting catharsis after the tragedy of death. However, that purifying surge of bereaving anguish and loss has never been explicitly presented or at least obviously implicated because they both died. I cannot say though that this hinders development of our characters. The redemption of this forgivable flaw is the fact that Orpheus became an active protagonist finally when Eurydice died. That plot point allowed a wide-open door to know who Orpheus is by witnessing his obvious desire. Yes, there is a significant moment when the carefree Orpheus transforms into a man who just found a truthful love but the conclusion is still missing. The redemption to this cliffhanger of fate is the final scene I have mentioned above—the two kid sidekicks of Orpheus and another young girl singing and dancing upon the rising sun. Definitely, the tragedy that happened between the star-crossed lovers transcends its misfortune and at the same time hopes for the eventual cease of this vicious cycle. The best thing about the non-technical part of the film for me is the contemporary take on a story created even before Jesus Christ.

 The charismatic Serafina cheering her cousin Eurydice and Orpheus dancing together. Take a look at how deep the focus of this shot is. Three faces at the back of Serafina and her boyfriend are equally clearly photographed. 

The second best thing about this film of exploding colors, aside from the art direction, is its adorable casting. Orpheus, played by Breno Mello is a perfect black debonair, Eurydice, played by Marpessa Dawn is a black goddess with that very sweet and charming face and smile, Serafina, played by Lea Garcia is a goddess of energy and presence. Garcia may actually be my favorite among this group of lovely people. Providing sufficient liveliness that compliments Eurydice’s timidity is a dexterous job that is to be credited to Garcia. Even the two boys I have mentioned above, Benedicto and Zeca are very fascinating to me. Innocence and ignorance are two very different things and they naturally managed to demonstrate that duality in a very charming way.

The beautiful final scene I am mentioning above. This screen shot is a photo of celebration, nature, hope and future. 

My cornerstone of watching movies from different nations and of different languages is the opportunity to emotionally connect, at least virtually, to the life and culture of that strange piece of space somewhere in our world.  This has been a very interesting experience for me; a sensation that is easy to be desired. I don’t really know if these people dance like crazy hyper bunnies, but it is not difficult to realize that music and dance are not mere diversion from their livelihoods, instead they are essential components of the spirit of the community, or so to say, it is their actual livelihood. “Black Orpheus” is not a completely perfect film, but it is exotically lavish and overflowing with human soul. It is an explosion of unbelievable dynamics in music, colors, photography, and acting. Most importantly, among the many movies about black people I have seen, this is the first and the only movie that is admirably not plagued by racial discrimination, poverty, illness, and brainsick violence to any of its fortress. With that realization on the film and the film itself, I am deeply gratified.