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Sérgio Ricardo

Birthday: 1932-06-18 Place of Birth: Marília, São Paulo, Brazil
Synopsis

João Lutfi (18 June 1932 – 23 July 2020), known professionally as Sérgio Ricardo, was a Brazilian actor, musician, playwright and filmmaker, better known for being responsible for the soundtrack of Glauber Rocha's "Deus e o Diabo na Terra do Sol" ("Black God, White Devil"). Born in a Lebanese-Brazilian family in Marília, São Paulo, and brother to famed director of photography Dib Lutfi, João got his stage name from TV businessmen who wanted to rebrand him as a leading man with an iconic name during his early gigs as an actor. He's maily associated with the Cinema Novo (Brazilian New Wave) movement, but stayed active until 2018. During the Cinema Novo days, Ricardo directed short film "Menino da Calça Branca" (1961) and "Esse Mundo É Meu" (1963), his feature-length debut. Among other notorious works in his career as a filmmaker is "A Noite do Espantalho", which shows Ricardo's talent as a polymath by mixing filmmaking with folk music and other elements of Brazilian popular culture, such as "cordel" literature. Ricardo moved to the Vidigal slum, in Rio de Janeiro, by choice in the 1970s, where he lived until his death in 2020. "Bandeira de Retalhos" (2018), his last film, was adapted by a theatre play also written by him and chronicles the life in 1970s Vidigal.

Acting

A Night in 67
as    Self
If you thought TV shows in which audiences and juries judge musical acts were a relatively new phenomenon, you'd better think again. In the 1970s, such "festivals" were incredibly popular in Brazil. They were recorded before a live studio audience, and usually featured a number of elimination rounds. They also formed the springboard for the career of many a big-name star, such as Chico Buarque, Caetano Veloso, Roberto Carlos and Gilberto Gil. Appearing on such a program was no cakewalk, however: audiences could be as wild in their condemnation as in their appreciation of an artist. Extensive archive footage (including performances and behind-the-scenes interviews) from a turbulent final of the Festival of Brazilian Popular Music one evening in 1967 paints a fascinating picture, not only of the transformation of Brazilian music into real "festival" music, but also of a society starting to buck against the yoke of military rule.
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