“Black Orpheus” (1959), also known as “Orfeu Negro”, is a French-made, Portuguese-language film that tells the old Greek love story of Orpheus and Eurydice but set in black Rio at the time of the Carnival. While it does present blacks as childlike, you do get to see Carnival and hear music by bossa nova great Tom Jobim.
The film won a Golden Palm at Cannes, an Oscar and a Golden Globe.
Like “Carmen Jones” (1954) it uses an all-black cast and music to tell an old story.
The story (spoiler alert) appears in Ovid, Plato, Rubens, Titian, Monteverdi, Cocteau and even Neil Gaiman. In both the Greek story and the film, Orpheus plays amazing songs on his stringed instrument (lyre, guitar). He falls in love with Eurydice but then she is killed (by a snake, the electric current of a tram line). Orpheus goes to get her back from the dead (Hades, voodoo woman) but he is told that if he looks back at her before he leaves he will lose her forever. He looks back. Orpheus carries her body and is killed by some women who have gone mad.
Eurydice was played by Marpessa Dawn, who is not from Brazil at all but Pittsburgh! Although she is a light-skinned black American woman, in some of the posters she is pictured as a white woman. Not sure how they got away with that. She died in 2008 just 42 days after Breno Mello, who played Orpheus (and is from Brazil).
The film comes up in Barack Obama’s book “Dreams from My Father”. When he was going to Columbia University his mother and sister came to visit. One night “Black Orpheus” was showing. It was an old film that his mother loved, so they went.
His sister thought it was “kind of corny. Just Mom’s style”. Barack could not stand the way it pictured blacks and wanted to leave. He was about to get up and go but then he saw his mother:
But her face, lit by the blue glow of the screen, was set in a wistful gaze. At that moment, I felt as if I were being given a window into her heart, the unreflective heart of her youth. I suddenly realized that the depiction of childlike blacks I was now seeing on the screen, the reverse image of Conrad’s dark savages, was what my mother had carried with her to Hawaii all those years before, a reflection of the simple fantasies that had been forbidden to a white middle-class girl from Kansas, the promise of another life: warm, sensual, exotic, different.
“Black Orpheus” had come out just before she met his father at the University of Hawaii.
Obama concludes:
The emotion between the races could never be pure, even love was tarnished by the desire to find in the other some element that was missing in ourselves. Whether we sought out our demons or salvation, the other race would always remain just that: menacing, alien, and apart.
See also:
Abagond 