A retelling of the Orpheus and Eurydice myth, set during the time of the Carnaval in Rio de Janeiro.A retelling of the Orpheus and Eurydice myth, set during the time of the Carnaval in Rio de Janeiro.A retelling of the Orpheus and Eurydice myth, set during the time of the Carnaval in Rio de Janeiro.
- Won 1 Oscar
- 4 wins & 2 nominations total
- Death
- (as Adhemar Feirrera da Silva)
Storyline
Did you know
- TriviaBreno Mello was a soccer player with no acting experience at the time he was cast as Orfeu. Mello was walking on the street in Rio de Janeiro, when Marcel Camus stopped him and asked if he would like to be in a film.
- GoofsWhen Eurydice faints in the arms of Orfeu; her left arm is straight resting just above his right elbow. But on the next cut the orientation of her arm changed and is now bent and resting just below his elbow. Then on a following cut her arm changed position again.
- Quotes
Orfeo: Try to remember. It's a very old story. Thousands of years ago, Orpheus was sad and melancholic, like this little bird trapped in its cage. But one day, from the strings of his guitar that sought only one true love, a voice spoke to him of lost kisses from the lips of Eurydice. Eurydice's lips trembled anxiously, and her mouth opened slightly like a fragrant flower -
[tries to kiss Eurydice and she pushes him away]
Orfeo: No, you're too young to remember!
Eurydice: But I do. I remember the words you sang.
Orfeo: They were the same words.
Eurydice: That's right. But it was the melody I liked best.
Orfeo: [Eurydice leaves, Orfeo follows, finds her sitting on a rock looking at the landscape with a tear in her eye] Forgive me, Eurydice.
- ConnectionsFeatured in A Huey P. Newton Story (2001)
- SoundtracksGenerique
Traditional folklore, played over opening titles
Samba is a Portuguese form of music, the word was derived from the West African bantu word "semba", meaning "invoke the spirit of the ancestors". Long outlawed as a dangerous expression of black slave culture, samba music eventually gained legitimacy and became a big part of carnival.
Nearly 20 years later Black Orpheus achieves what Welles was trying for and goes beyond it. To start Marcel Camus had a script to work from whereas Welles was trying to wing it on the spot. Camus successfully recreated the Orpheus-Eurydice myth using the Rio Carnival as the back drop. The main characters retain the mythological names, including the symbolic Death. This works because it is Afro-Latin culture where pagan-Christian names were more evident and because the Carnival itself was such an important part of the story. History manifests as a deja vu, a cyclical progression of event and re-incarnation, understood only by the occultic transformation of samba, trance and possession, for which the Carnival is the engine.
To those who misunderstand or are ignorant of samba, voodoo, or the Rio Carnival Black Orpheus may seem overwhelming, especially because of all the singing and dancing but samba (and Carnival) is ritual, in its most elementary form it is a raw cacophony of primitive drumming, clapping, chanting... and the droning cries of the dancers who stagger on the edge of the "stage", seeking possession and reincarnation.
Black Orpheus won the Palm d'Or in 1959 at Cannes. It was seen as progressive because it featured black actors and the pluralist culture of modern Brazil. It also gives outsiders a view inside of a ritualistic, non-Western culture and that is why it was and is so important to cinema.
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Details
- Runtime1 hour 40 minutes
- Aspect ratio
- 1.37 : 1