Belchior says (almost) everything in film that gives clues to the path followed by the artist’s wild heart | Mauro Ferreira’s blog

Documentary review of the 27th festival It’s All True

Title: secondhand – Just a wild heart

Direction: Camilo Cavalcanti and Natalia Dias

Road map: Camilo Cavalcanti, Natalia Dias and Paulo Henrique Fontenelle

Production: Clario Films

♪ Film sessions secondhand – Just a wild heart at the 27th festival it’s all true :

April 7 – 8 pm: Espaço Itaú de Cinema Augusta (SP)

April 7 – 8 pm: Espaço Itaú de Cinema Botafogo (RJ)

April 7 – 9pm: It’s All True Play – Limit of 1800 virtual spectators

April 8 – 1pm: It’s All True Play – Limit of 200 virtual spectators

♪ Antonio Carlos Belchior (October 26, 1946 – April 30, 2017) is one of the most indecipherable enigmas of Brazilian music.

Directors of a still unpublished documentary about the artist from Ceará, filmmakers Camilo Cavalcanti and Natália Dias are right to avoid a vain attempt to unravel the singer’s mysteries from the linear exposition of testimonies from family, friends, professional colleagues and music critics, these targeted by the artist in the final part of the film (“I never get angry with what they write about me. Most critics are not competent to deal with what they are talking about”).

It is by giving voice to Belchior himself – through reproductions of excerpts from interviews and songs by the artist, linked in the script in order to profile the artist in a timeline that escapes the Wikipedia format – that the directors give clues to the paths followed by the wild Heart of the singer, songwriter and musician who died five years ago after spending about a decade in seclusion, or “disappeared” in the media’s understanding, between Uruguay and southern Brazil.

It is in the exposition of Belchior’s ideology about life and art that the strength and sensitivity of the documentary resides. The film leaves the impression that Belchior said (almost) everything before leaving the scene in a spurt of thoughts and ideas that, by the way, did not always reproduce the truth of the facts.

“It’s great to be discovered, isn’t it, Brazil?”, says the singer, naughty, to the audience with whom he interacted in a conversation exposed at the beginning of the film. In this conversation with the public, the singer introduced himself as Antonio Carlos Gomes Belchior Fontenelle Fernandes, a great name that never appeared on the birth certificate issued 76 years ago in the city of Sobral (CE).

This pompous name was the invention of a head guided by the heart in a particular universe – and the weight of that head fell on the dense and anguished lyrics written by the composer of music characterized as “autobiographical, contemporary and northeastern” by Belchior himself.

“All I have to say are the things that are written in my lyrics”, once summed up the artist. Even so, from the interviews, you can get clues about what was going on inside the head of a man who studied at a friars college (“Where I learned the good things in life: wine, cigars and women”), who was a seminarian in his youth and who let himself be influenced by the psalms – “The hope of paradise marks the northeast” – before leaving for the “adventure full of romanticism and madness” of migrating to the “big city vertigo”.

It was on the Rio de Janeiro-São Paulo axis that Belchior began to draw attention at the dawn of the 1970s after a period of cultural turmoil in Fortaleza (CE).

The singer’s image in V University Festival of Brazilian Music in 1972 – to re-present the song in an externalized interpretation In lunch time (1971), victorious in the previous edition of the festival – is one of the attractions of the script that also opens space to rewind the chilling record of Clike our parents (1976) in the voice of Elis Regina (1945 – 1982).

Throughout the film, lyrics and poems by Belchior are also heard in the voice of actor Silvero Pereira in six interventions, with emphasis on the dramatic recitation of lyrics by how the devil likes (1976), one of the songs from the album Hallucination (1976), a masterpiece in Belchior’s discography.

(This disc was the) first work of new diction in MPB”, boasted Belchior when explaining that, at the time, most MPB composers communicated through metaphor to deliver the message without going through the censorship veto.

The composer preferred to adopt direct speech. “My music is an extension of the word”, reinforces Belchior, in another moment of the film, corroborating that (almost) everything was really said through the lyrics.

Among exhibitions of rare photos of the artist’s youth (some with fellow countryman Raimundo Fagner), a gallery with album covers and musical numbers from TV shows from the 1970s, the script by secondhand – Just a wild heart – well constructed by the two directors with Paulo Henrique Fontenelle – moves to the extent that it makes it clear that it focuses on a sincere artist, moved by Art. And that, if this artist disappeared in the dust of the road, it was less for lack of money and more for a strange inner force that led him to withdraw from the scene when he felt less important in the market.

Scheduled to be shown in 2023 on Canal Curta!, after traveling through the festival circuit on a route started this April with the four in-person and virtual sessions of the 27th edition of the festival. it’s all truethe sensitive film by Camilo Cavalcanti and Natália Dias briefly touches on the artist’s disappearance without trying to decipher an unsolved enigma, despite the clues given by Antonio Carlos Belchior throughout his life and especially in Art.

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