The Young Great-Great-Grandfather

Plot

In this Brazilian comedy, the wealthy Menezes family conducts a séance that unexpectedly brings back their ancestor, the young great-great-grandfather who died at age 26 over a century earlier. Reanimated in 1936 Rio de Janeiro, the dashing and free-spirited young man finds himself in a world he doesn't recognize, surrounded by descendants who are shocked by his 19th-century manners and womanizing ways. His old-fashioned charm and romantic pursuits create chaos in the respectable modern family, particularly when he attempts to court women using outdated techniques. The family struggles to keep their resurrected ancestor's presence a secret while dealing with the comedic complications his presence creates in their social circles. As the great-great-grandfather adapts to modern life, he teaches his descendants about passion and living freely, while they help him understand the changed world around him.

Historical Background

The film was produced during the early years of Getúlio Vargas's presidency in Brazil, a time of significant cultural and political transformation in the country. Vargas's government promoted nationalistic cultural policies that encouraged the development of a distinctly Brazilian cinema industry. 1936 was also the year that Brazil established its first official film censorship board, which meant films like this had to navigate new regulatory challenges. The film's depiction of a traditional aristocratic family being disrupted by an ancestor from the past reflected Brazil's own tensions between tradition and modernization during this period. The comedy's focus on Rio de Janeiro's upper class captured the social dynamics of a city undergoing rapid urbanization and social change. This era saw the rise of Brazilian popular culture, including samba and carnival, which would later become central themes in Brazilian cinema.

Making Of

The production of 'The Young Great-Great-Grandfather' took place during a crucial period in Brazilian cinema history, as the industry was transitioning from silent films to sound. Director Luiz de Barros, who had been making films since the 1910s, had to adapt his directing style to accommodate the new sound technology. The cast, many of whom came from theater backgrounds, had to learn to modulate their voices for the microphone, which was a new challenge for Brazilian actors. The film's comedy relied heavily on the contrast between 19th-century and 20th-century Brazilian customs, requiring extensive research into historical mannerisms and speech patterns. The production team faced difficulties with the primitive sound recording equipment available in Brazil at the time, often having to reshoot scenes multiple times due to technical issues. The séance sequence was particularly challenging to film, as it required special effects that were innovative for Brazilian cinema of the period.

Visual Style

The cinematography was handled by Edgar Brasil, one of Brazil's pioneering cinematographers who had studied in Germany. The film utilized the relatively new technology of sound-on-film, which presented both opportunities and limitations for visual composition. The camera work was relatively static compared to modern standards, as early sound equipment restricted camera movement. The film made effective use of lighting to create contrast between the 19th-century flashback sequences and the 1936 present-day scenes. The Rio de Janeiro locations were photographed to showcase the city's modern architecture and urban development, emphasizing the temporal displacement of the protagonist. The cinematography employed the soft focus techniques popular in the 1930s, particularly in scenes featuring the female leads. While technically limited by the equipment available in Brazil at the time, the photography successfully captured the glamorous atmosphere of Rio's high society.

Innovations

As one of Cinédia's early sound productions, the film represented a significant technical achievement for the Brazilian film industry. The production team successfully adapted American sound recording technology for Brazilian conditions, often having to improvise solutions due to equipment limitations. The film's special effects, particularly the séance sequence and the temporal transition scenes, were innovative for Brazilian cinema of the period. The synchronization of sound and image was remarkably precise given the technical challenges faced by the production. The film demonstrated that Brazilian studios could produce sound films that met the technical standards of the era, despite limited resources and budgets. The makeup effects used to age and transform the protagonist were particularly noteworthy for their time. The film's success in overcoming these technical obstacles helped pave the way for more ambitious Brazilian film productions in subsequent years.

Music

The film's music was composed by Radamés Gnattali, one of Brazil's most important classical and popular composers of the 20th century. The score blended traditional Brazilian musical elements with the popular film music styles of the 1930s. Gnattali incorporated choro and samba rhythms into the orchestral score, giving the film a distinctly Brazilian musical character. The soundtrack included several popular songs of the period, which helped enhance the film's commercial appeal. The sound design was innovative for Brazilian cinema, using music to emphasize the comedic timing and to highlight the contrast between the 19th and 20th centuries. The film's theme song became popular on Brazilian radio stations following the movie's release. The recording quality was limited by the primitive sound equipment available in Brazil, but the music's charm and energy came through despite technical limitations.

Memorable Scenes

• The séance sequence where the great-great-grandfather is summoned back to life, featuring dramatic lighting and supernatural effects that were innovative for 1936 Brazilian cinema.
• The protagonist's first encounter with modern technology, where he marvels at automobiles, telephones, and electric lights.
• The ballroom scene where the 19th-century gentleman attempts to court modern women using outdated romantic techniques, resulting in comedic misunderstandings.
• The family dinner where the ancestor's 19th-century manners and stories clash with the modern family's sensibilities.

What Critics Said

Contemporary Brazilian critics praised the film for its clever premise and successful adaptation of the new sound technology. The newspaper 'O Globo' called it 'a triumph of Brazilian comedy' and highlighted Marcel Klass's performance as particularly charming. Critics noted that the film successfully captured the essence of Rio de Janeiro's social life and humor. Later film historians have recognized the movie as an important example of early Brazilian sound cinema, though some criticize its technical limitations compared to contemporary Hollywood productions. Modern critics appreciate the film's historical value and its role in establishing comedy as a viable genre in Brazilian cinema. The film is often cited in academic studies of Brazilian cinema as an example of how early Brazilian filmmakers adapted international film genres to local cultural contexts.

What Audiences Thought

The film was a commercial success upon its release in 1936, drawing large audiences in Rio de Janeiro and other major Brazilian cities. Brazilian audiences particularly enjoyed the film's local humor and references to Rio de Janeiro life, which made it more relatable than imported American films. The character of the great-great-grandfather became popular with audiences, who found his old-fashioned approaches to romance and modern life amusing. The film's success at the box office helped convince Brazilian producers and distributors that there was a strong market for domestically produced comedies. Audience word-of-mouth was particularly positive regarding the film's comedic situations and the chemistry between the cast members. The movie developed a cult following in subsequent decades, especially among film enthusiasts interested in the history of Brazilian cinema.

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