The Cinema in the 70’s

The Cinema in the 70’s
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The cinema in the 70s is characterized with movies with themes realistic, until you get to the age of the Blockbusters (“turtle-blocks”, in English). So let’s talk of these wonders of the 7th art.

Several classics were produced in this time and influence fans, critics, and filmmakers even today. The word that sums up the cinema of that time, is renewal. Let’s learn about some of these works.

Cinema in the 70’s, various styles in poster

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Police and gangsters

Movies police as Operation France (Oscar for Best Film and Best Actor for Gene Hackman) and its sequel, French II; Serpico; Chinatown (Roman Polanski, and the Oscar for Best Movie) brought police officers and detectives tough tackling violence of the big cities. On the other hand, the organised crime showed its face as in saga d’ The godfather, which won the Oscars for Best picture, Director (Francis Ford Coppola) and Actor (Marlon Brando). Your sequence would be the first to win a Best picture Oscar and outperform the original.

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Vietnam war

The Vietnam War ended in 1975, with the defeat of the U.S. to the viet cong. And the film american begins to do the self-criticism of the participation in the conflict in films such as Bitter Return (Oscar for Best Actor for Jon Voight). In addition to The Sniper (winner of five Oscars, including Best film and director), and Apocalypse Now, one more masterpiece from Coppola that won the Palme d’or at the Cannes film Festival.

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The renovators

The cinema of that era presented new directors renovariam the world cinema. In addition to Coppola, emerged names such as Woody Allen (academy award for Best Director and Screenplay for the Groom Neurotic and Bride Snowy), Brian de Palma (Carrie, the Weird), Martin Scorcese (Taxi Driver), George Lucas (Star Wars) and Steven Spielberg, whose film Jaws (1975), ushered in the era of the Blockbusters.

A number of successful films in the 70’s. I quoted only a few to not go overboard.

Brazilian Films

The Brazil in this era lived under the military authoritarianism. In this way the film-making was divided between the “mouth of garbage”, with the famous pornochanchadas (such as The Well-Endowed) and also the Embrafilme, which brought hits such as Xica da Silva and Bye-Bye, Brazil (the two directed by Cacá Diegues), Dona Flor and Her 2 Husbands (Bruno Barreto) and Lúcio Flávio, Passenger of Agony (Hector Babenco).

To remember how was the cinema in the 70’s in Brazil, let’s take a little trip in our history. The more young people that look at the films today, with a crystal clear picture, sound effects impressive, characters that jump of the screen before the eyes of the spectators,with all the comfort of a shopping mall, may even think that there were cinemas in the past.

But the film is present in the life of the brazilians since the year 1896. And during all these years only has managed to consolidate its position as one of the entertainments favorite of the people, in general.

It is clear that cinema in the 70s in Brazil were very different from that we have the opportunity to have today. To begin with, the large rooms, which is so large ended up turning in theatres in many cases, were accessed directly from the street. For this reason they were called the cinema of the street, as there were within other commercial complexes.

Additionally, the theaters that existed in Brazil were following the developments presented in the cinemas foreign, to the few, with a certain delay. The same was true also for the schedule of premieres. But as the brazilians had no sense of the movies that were passing through in the United States, the notion of time was somewhat distorted.

Another feature of the behavior in movie theaters of the 70’s was the fact that people could smoke inside of the rooms. In fact, in this decade people could smoke in virtually any enclosed space.

Although there is the physical structure, in the 70’s the brazilian politician, and a military dictatorship, so not all the films made abroad could make his debut here. Everyone had to pass by the analysis of the censors, and this ended up being a great filter. Another characteristic of the cinema of the decade of 70 in Brazil is the fact that the brazilian went on to make more films.

Some movies in fact become classics of the resistance of culture to the military regime. The role of cinema in the period was widely discussed it was Believed that he should serve as a means of clarification of the population and not only for the entertainment. The same that would occur with the other areas of culture, such as : music, the theatre…

It was from the 70’s that the then “New Cinema” was highlighted in the national and international scenario. Including winning awards such as Cannes and Venice.

Outside of this circuit had a strand of cinema, the “Cinema Marginal”. He tended to the representation of issues that are more social, such as the movie “Terra em transe” by Glauber Rocha. Other landmarks of this current were the movies : “the red light Bandit” of Rogério Sganzala, “Killed the family and went to the movies” by Júlio Bressane, and “The Margin” of Ozualdo Candeias.

The language used by some of the wards of the “Cinema Marginal” was the humor and the million dollar ghost ” and “grotesque” who wore what was happening in the brazilian scene as a raw material. Here the hero was the outlaw, the rogue, and the transgressor of social rules.

The melodrama, the social was the main language of the film at the end of the decade of 70. This line made successful films such as: Lucio Flavio, the passenger of agony (1978) and Pixote, the law of the weakest (1980) by Hector Babenco; And, Bye Bye Brazil (1979) by Cacá Diegues.

In the period from 1969 to 1979 in which the censorship was very rigid, more than 500 films, mostly foreign, were not shown in the lands of the tupiniquin. The rulers tried in all ways to create a pattern of culture acceptable according to their viewpoint. But who could with this was just censorship . Which incidentally was the biggest challenge to be overcome by the cinema in the 70’s in Brazil.

With the creation of Embrafilme (1969) and Concine (1975), the State began to finance the production of a large amount of brazilian films. But they also had to have their scripts approved by the censors of the time.

But even with all the control of the “moral values” made by the military, one of the genres that most ended up making a success in the brazilian cinemas during the 70s was the Pornochanchada.

Were usually the productions of cheap, made with actors unknown but who had some physical beauty. Them if abused scenes of female nudity and scenes malfeitas simulating sex. But commercially, this genre has brought good fruits. Usually packed in the cinema with an audience of the classes are the most popular.

Some of the Milestones of the cinema in the 70’s in Brazil:

  • “Como era gostoso o Meu francês” (1971) by Nelson Pereira dos Santos;
  • “Independence or Death”, by Carlos Coimbra;
  • “Os Inconfidentes”, by Joaquim Pedro de Andrade;
  • “All Nudity will be punished”(1973), the work of Nelson Rodrigues, directed by Arnaldo Jabor;
  • “Xica da Silva” (1976) by Cacá Diegues; and
  • “Dona Flor and her two husbands” (1976) by Bruno Barreto.

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