Banana-da-Terra

Plot

A publicity agent for banana exports devises a scheme to boost sales by kidnapping the fictional Queen of 'Bananaland', a tropical paradise island. He brings the queen to Rio de Janeiro, where she becomes enamored with a member of Carmen Miranda's musical group, Bando da Lua. The film follows the comedic complications that arise from this elaborate marketing ploy, featuring numerous musical numbers and showcasing the vibrant culture of Brazil. As the queen adapts to life in Rio, her romance blossoms while the publicity campaign creates unexpected chaos and humor throughout the city.

Historical Background

Released in 1939, 'Banana-da-Terra' emerged during the Estado Novo period under President Getúlio Vargas, when Brazil was experiencing a wave of cultural nationalism. The film industry was being promoted as part of nation-building efforts, with an emphasis on creating distinctly Brazilian content. This was also the year that World War II began in Europe, though Brazil would remain neutral until 1942. The film reflects Brazil's growing urbanization and the importance of Rio de Janeiro as cultural capital. It also captures the moment just before Carmen Miranda's international breakthrough, representing the transition of Brazilian cinema from purely national to global recognition.

Making Of

The production took place at Cinédia, one of Brazil's most important film studios of the era. Director Ruy Costa worked closely with Carmen Miranda to showcase her unique performance style, which combined Brazilian folk traditions with international appeal. The musical numbers were rehearsed extensively, as sound recording technology of the time required precise timing. The film's promotional campaign was innovative for its time, using the banana theme as both plot device and marketing strategy. Behind the scenes, there was tension between the producers who wanted to showcase Brazilian culture and those who aimed for international marketability.

Visual Style

The cinematography by Edgar Brasil utilized the technical capabilities of Brazilian studios in the late 1930s. The film employed static camera shots typical of early sound cinema, but incorporated dynamic movement during musical sequences. The black and white photography emphasized the contrast between urban Rio de Janeiro and the tropical paradise of Bananaland. Lighting techniques highlighted the elaborate costumes and set designs, particularly during Carmen Miranda's performance numbers. The cinematography successfully captured the energy of the musical performances while maintaining clear visibility for the audience.

Innovations

The film demonstrated the growing sophistication of Brazilian film production in the late 1930s. It featured advanced sound recording techniques for musical numbers, allowing for clearer audio reproduction of songs and dialogue. The production utilized newly constructed sound stages at Cinédia, enabling better control over lighting and acoustics. The film's editing techniques, particularly during musical sequences, showed increasing technical proficiency. The successful integration of live musical performance with narrative storytelling represented a significant achievement for Brazilian cinema.

Music

The film's soundtrack features numerous Brazilian popular songs, many performed by Carmen Miranda and Bando da Lua. The music blends samba, maxixe, and other Brazilian rhythms with contemporary popular styles. Notable songs include 'Disseram que Voltei Americanizada' which would later become one of Miranda's signature numbers. The score was composed by Ary Barroso and other prominent Brazilian musicians of the era. The soundtrack represents the transition from traditional Brazilian folk music to the urban popular music that would define Brazilian culture in the 20th century.

Memorable Scenes

• The opening sequence introducing the tropical paradise of Bananaland with elaborate musical numbers
• Carmen Miranda's performance of 'Disseram que Voltei Americanizada' in a vibrant tropical setting
• The comedic kidnapping scene where the queen is 'abducted' for the publicity campaign
• The final musical number featuring the entire cast in a grand Carnaval-style celebration

What Critics Said

Contemporary Brazilian critics praised the film for its vibrant musical numbers and Carmen Miranda's charismatic performance. The film was seen as a triumph of Brazilian popular cinema, with particular acclaim for its authentic representation of Brazilian culture. Modern critics view the film as an important historical document of Brazilian cinema's golden age, though some note its simplistic plot and reliance on musical spectacle. The film is now recognized as a classic of Brazilian cinema and a crucial stepping stone in Carmen Miranda's career.

What Audiences Thought

The film was enormously popular with Brazilian audiences upon its release, drawing large crowds in Rio de Janeiro and other major cities. Viewers particularly enjoyed the musical performances and the comedic elements, which provided escapism during the tense pre-war period. The film's success at the domestic box office helped establish the commercial viability of Brazilian musical comedies. Audiences connected with the film's celebration of Brazilian culture and its optimistic tone. The movie's popularity contributed to Carmen Miranda's growing fame and helped launch her international career.

You Might Also Like