Humberto Mauro
Humberto Duarte Mauro ( born April 30, 1897 in Volta Grande, Minas Gerais, † November 5, 1983 ) was a Brazilian film director.
Life
Humberto Duarte Mauro was born the son of an Italian immigrant and locals. After leaving school in Belo Horizonte, he lived with his parents in the city Cataguases. He earned money with the installation of electrics in local farms. From 1916 to 1920 he worked as an electrician in Rio de Janeiro, where he met and married his wife Dona Bebê ( Maria Vilela de Almeida ). His interest in photography brought Mauro 1923, when he bought a Kodak camera, with photographer Pedro Cornello together. Because of their shared passion for the cinema in 1925 they acquired a 9.5 - mm - home camera Pathé and thus turned a 5-minute comedy adventure. After screening of the film they could win the local dealer Homero Cortes Domingues to invest in film equipment and bought a 35 mm camera and hundreds of feet of film. Her first professional project remained unfinished, but in the same year they received additional support from the businessman Agenor Cortes de Barros and founded the film production company pHEBo Sul America movie in Cataguases. Mauro's first feature film was Na Primavera da Vida (1926 ), in which Cornellos daughter Eva Nile took over the lead role. Humberto Mauro led since this beginning of his career not only directed, but was also often on the script, the design and lighting of his films involved and came in small roles or himself stood behind the camera.
His second feature film Thesouro Perdido (1927 ), in which, among other things, Mauro's wife under the pseudonym Lola Lys had her only film appearance was after successful performances in Rio de Janeiro honored as the best Brazilian movie of the year. The melodramatic adventure story was inspired style on American productions of the time. The film's success brought new supporters and Mauro's company was expanded and renamed movie in pHEBo Brazil. With the next film Braza Dormida, a jealousy drama about the daughter of a sugar mill owner, Mauro continued to develop its ability to cinematographic expression of emotion and excitement. Cameraman Edgar Brazil turned symbol -laden scenes in front of a naturalistic background, Close-up and took advantage of the possibilities of film editing. Braza Dormida in 1929 Premiere, was distributed by Universal Pictures in Brazil and was very successful commercially, with its main characters Luiz Soroa and Nita Ney. Mauro's last film for pHEBo appeared in the same year: Sangue Mineiro, a triangular love story about the actress and co-producer Carmen Santos, is considered because of its moving camera and the natural landscape and its character -based storytelling as an artistically mature work Mauro.
Despite its success for the company pHEBo this did not have the financial resources to convert their technology to the needs of the emerging sound film. Mauro went to Rio de Janeiro to the newly formed film company Cinédia producer Adhemar Gonzaga, turning there in 1930 labios this Beijos, his last silent film, with Lelita Rosa and Paulo Morano in the lead roles. The film is a romantic comedy about the relationship of a rich young woman and a poor " Don Juan ". The magazine " Jornal do Brasil " chose him as the best Brazilian film of the year 1930.
After Mauro Octavio Gabus Mendes ' film Mulher (1931 ) worked as a cameraman and it took over a small acting role, he began the end of 1931 with the production of Ganga brutal story by Mendes. The 1933 completed film is considered qualitatively better in Mauro's oeuvre and one of the best Brazilian films He turned him mute and added retrospectively recorded sound and dialogue added, written dialogues are partly integrated in the film image. Main character of the film is the rich engineer Dr. Marcos, who in the wedding night, out of jealousy killed his wife because of their unfaithfulness. Marcos fell in love after his release in the young Sonia, but this is already engaged to another man. They developed an affair develops. As Sonia's fiancé finds out, he is furious and confronts Marcos in a fight in which he comes to death. Marcos marries Sonia. In its release, the film by audiences and critics remained unheeded. As already two years earlier Mário Peixoto's Limite was Ganga Bruta with its narrative and film technical innovations misunderstood and ahead of his time, until more than two decades later, he was recognized as a masterpiece.
Mauro's last film was A Voz do Cinédia for Carnaval, a large-scale carnival musical. It originated in Koregie with Adhemar Gonzaga and shows, among many other artists, the singer Carmen Miranda in her first film appearance. In 1934 he went to Brasil Vita films, the studio of Carmen Santos, and turned there some documentaries and two feature films Favela dos Meus Amores (1935 ) and Cidade Mulher (1936 ) with Santos in the lead role.
1936, Mauro 's reputation Edgar Roquette- Pinto into the newly founded Instituto de Nacional do Cinema Educativo ( INCE ) and turned there in the next few decades a total of 357 short educational films and science films. During his time at I.N.C.E. created under his aegis only three feature films. For the 1937's historical epic O Descobrimento do Brasil on the travel of Pedro Alvares Cabral to South America in 1500 and the discovery of Brazil was composed by the Brazilian composer Heitor Villa -Lobos National film music. After the romantic film drama Argila (1940 ) with Carmen Santos in the lead role was the last major work of Mauro O Canto da Saudade ( 1952). He turned it in his home, and took over a leading role. Mauro's last documentary was made in 1974.
For filmmakers of Cinema Novo as Glauber Rocha and Nelson Pereira dos Santos Humberto Mauro was a pioneer of her film movement. He worked especially in the 1970s for directors of the new Brazilian film. Mauro joined David Neves 'on Memória de Helena (1969 ), wrote dialogues for Pereira dos Santos ' Como Era Gostoso o Meu Francês (1971) and Paulo Cesar Saraceni Anchieto, José do Brasil ( 1978) and co-authored by Alex Vianys A Noiva da Cidade (1979).
Mauro was a jury member at the Film Festival in Venice in 1938.
His granddaughter Cláudia Mauro is an actress.
Filmography
Humberto Mauro resulted in the following feature films Director: