Hello, my name is Tânia Barros you
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“CRAZY FOR BIOGRAPHIES”. Today we will meet a little of the life and work of: MAZZAROPI – Actor
and Brazilian filmmaker. Became immortalized with the character Jeca Tatu, an adaptation
from the famous book by Monteiro Lobato. It was the only artist who managed to become millionaire
making cinema in Brazil. Considered the greatest comic in Brazilian cinema,
his films were audience phenomenon by more than three decades. This when the population
Brazil was 60 million and almost 80% of people lived in rural areas, the movies
of Mazzaropi dragged 5 million people to the cinema.
Some in Brazil consider him one of the “Parents” of Brazilian cinema.
Another Brazilian that is worth knowing the story!
AMÁCIO MAZZAROPI was born on April 9th from 1912 in São Paulo, on Vitorino Camilo Street,
in the Santa Cecilia neighborhood where by coincidence I also lived and there were born two of my
Three children Aácio was the only child of a class couple
average. Your father Bernardo Mazzaropi, an immigrant Italian and Dona Clara Ferreira, Portuguese.
The father owned a grocery store and Mazzaropi grew up without financial problems. – From his paternal grandfather, Amácio Mazzaropi, an immigrant
Italian who came to Brazil to work in the lands of Paraná, Mazzaropi, did not inherit
just the name, but the taste for country life. When he was two years old his family
moved to Taubaté, in the interior of São Paulo.
Little Amácio spent long seasons in the neighboring municipality of Tremembé, in the house
of the maternal grandfather, the Portuguese João José Ferreira, expert guitar player and dancer
cane green, a dance modality of pairs of Portuguese origin.
His grandfather was also an animator of the neighborhood where he lived, and took his grandchildren with
him. From an early age, the grandfather’s rustic way, enchanted him.
That weird Jeca floor with arms and half-open legs Mazzaropi learned from
an Italian neighbor, which he imitated when she passed by and eventually incorporated it into her character.
In 1919, his family returned to the capital where Aácio did the primary course. It was known
for their ease in decorating poetry and declaring it, becoming the center of attention at parties
school In 1922 his paternal grandfather passed away and his family
returned to Taubaté, where they opened a small Pub.
Mazzaropi continued to interpret types in school parties and started frequenting the world
circus. Concerned about their child’s involvement with
the circus, his parents send him to live with his uncle Domenico Mazzaroppi in Curitiba where
He worked at the family fabric store. At fourteen, he returned to São Paulo
with the dream of participating in shows circus
At 16, she ran away from home to enter the La Paz’s caravan as an assistant
from the fakir Ferri. For this he had the help of the fakir, which altered the age of
on the identity document. Helped Fakir as a stage assistant
and in the intervals of Ferri’s number, Mazzaropi told anecdotes and stories, earning a small
gratification. Traveling around the interior of the country, he had the idea
to make the redneck role, inspired by his grandfather and in Monteiro Lobato’s work.
One day after your circus performance, a lawyer was greets you in your dressing room
and said he was wasting time inside, he was very good and should try Sao Paulo
or Rio de Janeiro. That got in his head and Mazzaropi in
1929 left the circus and returned to the parents
in Taubate. With the 1932 Constitutionalist Revolution
a great cultural upheaval followed and Mazzaropi premiered his first play,
called Father John’s Inheritance. He was a fan of Genésio and Sebastião de Arruda,
theater actors who were successful at the time. At first he imitated Sebastian. But later
created his own style that enshrined him. Genesio worked on three of his films.
Some said that Mazzaropi would not catch, because it was an Italian surname, not at all
it resembled a redneck, but it caught, or rather It stuck.
In 1935, he set up the Circus Mazzaropi Theater first circus “Itinerant” of the country.
With the difficulty of finding a place to performing in 1940 created the Companhia Teatro
Emergency Department, which worked in the so-called Pavilion Mazzaropi in Jundiai.
When his maternal grandmother passed away, he left her an inheritance that gave to buy a roof
of zinc for his pavilion, and he can debut in the capital, with acclaimed performances in the newspapers
Paulistanos. Then he left with the company on tour for
Paraíba Valley. But the serious situation of your father’s health complicated your situation
financial His father passed away in 1944. It premiered in professional theater in 1945 with
the piece “Cobbler’s Son, Cobbler Must Being ”, being an actor and director of the play
was enthusiastically received by the public. In 1946, he was hired by Radio Tupi do
RJ, where he debuted the Sunday program Rancho Alegre, staged live in the auditorium of
broadcaster and directed by Cassiano Gabus Mendes, that remained in the air for seven years.
Participated in the inauguration of Tv Tupi de São Paulo in 1950 and the Tupi TV of Rio de Janeiro
in 1951. With the premiere of television, was invited
to do the same program as I did on the radio Tupi on Tupi TV but now with the actors João
Restiffe and Geny Prado. The program became a huge success.
Mazzaropi had a hobby, he loved to sing waltz, MPB and seresta when I was with
friends. His friends affectionately called him from Maza.
Abílio Pereira de Almeida, director of the production company Vera Cruz, was looking for a different and curious type
to star in a comedy and while watching Mazzaropi on television had no doubt.
When you received a call saying that the director of Companhia Cinematografica Vera
Cruz wanted him to be in production at next day to make you a proposal for
star in his next movie Massaropi said calmly that the next day he would be
very busy but what director could go his house in two days.
When he hung up the phone, a friend who was hearing the conversation said: – You went crazy,
what you have to do that is so important tomorrow we can’t go talk to the principal
the Vera Cruz. – Mazzaropi replied – Have you heard
To say that an ox in a strange land is a cow. So, In my house they are in my territory.
You will see my car, my house and know that I am not cheap. They will give me more value.
Abilio Almeida offered 500 Thousand and Mazzaropi said for less than a million he didn’t
accepted to play the role, a small fortune at the time and even said we could put
a clause in the contract that if the movie of Mazzaropi of this damage he would pay out of pocket.
It sold well and won the role. Mazzaropi premiered his first movie titled Sai
da Frente, in 1952, run by the Company Vera Cruz Film Festival.
Participated in eight films as a hired actor; 3 by Vera Cruz, then with the difficulties
Cruz’s financial institutions, participated in more five films by various producers.
He worried that his films were censored free because he wanted father, mother and children
could go to the movies together. In 1957 launched the Mazzaropi Comics. Drew
very well and the art of your movie posters were made by him.
In 1958 he sold his house and created PAM Filmes. (Productions Amácio Mazzaropi) without help
or any encouragement from the government and passed only producing but directing and distributing
his films all over Brazil. His first production was the movie “Chauffeur
Square. “Maza used all his savings to rent studios and equipment
of Cia Vera Cruz and wheels the external filming in Sao Paulo. I didn’t have money to make copies
of the movie ready, took his car and left by inside doing shows until I can
raise the amount you needed. The film “Chauffeur Square” was a huge success already
on your debut. The following year, 1959 obtained from the
Fontoura Medicines the rights to the cinema about the character Jeca Tatu, created
in 1919. The backdrop of almost all of your movies
It was always a farm. The first were borrowed but then he bought his
and named it Fazenda da Santa, where he set up your studios.
In 1959 Mazza was invited by Boni (José Bonifácio de Oliveira Sobrinho) who at the time
worked at TV Excelsior in Sao Paulo, to make a variety show that got
in the air until 1962. The shy, slurred-talking hick, pants
marshmallow, tight jacket, plaid shirt and ankle boots, which overcomes obstacles by throwing
hand of trickery learned in simple life of the field appears on the screens for the first
1960, in the movie “Jeca Tatu” with inspiration in Monteiro Lobato’s work, and
dragged crowds to theaters and yielded the highest grossing of national cinema.
The success was such that from then on, Mazzaropi ended up devoting himself practically only to the cinema.
Released a movie a year, which always debuted on January 25th, St. Ann’s birthday
Paulo. The releases were always at the Cine Palace Art
because the movie owner was the one who supported him the most early in his career as a producer.
Paramont, Warner, the filmmakers were in the cinema at that time.
time, as it is until today. Mazzaropi was the only one national movie producer who could choose
the date of their debut because they were successful at the box office.
The premiere party of his movies seemed Oscar scene, closed the street with cord
of isolation, police made the security and Silvio Santos presented the cast that always
was present to the delight of the public. One of your movies was released the same day.
of the movie Shark and Mazzaropi gave more box office.
In 1961, he produced his first color film, “Sadness of the Jeca”, which was also the
first movie aired on television by Excelsior, and won the best awards
supporting actor, for Genésio Arruda, and Best song.
Five years later, he released the movie The Corinthian, it was a box office record of national cinema.
Despite educated people, the film elite and film critics find their movies
rubbish they always sold out tickets for movie theaters. Mazzaropi said that
trophy doesn’t fill belly and audience fills, so he made his movies to please
the public. Your work has just begun to be recognized
by critics after 30 years of career, the that damaged the documentation of his work.
We can measure its importance by way he to this day influences filmmakers
in Brazil. Mazzaropi was part of a major program
success at the time presented by Bibi Ferreira, “Brasil 63” on TV Excelsior, where Bibi interviewed
great national and international personalities. In 1968, Astraugésilo de Ataide, which was
president of the Brazilian Academy of Letters, wrote a note to Mazzaropi saying that
with “Jeca Tatu” and “A Freira”, Mazzaropi achieved in cinema the highest level of
your art. And he was, without any favor, a world-class artist. “Mazzaropi framed
the note and placed it on the fireplace of his living room.
In 1970 received the Special Award of Embrafilme “A Pistachio for Djeca”, for having
achieved the biggest national box office until So.
In front of the cameras, he knew how few make the general public identify with
your characters. Behind them, he became a shrewd trader.
and quickly learned the rules of the market. It has survived for decades as its own.
boss in a shark-infested environment. Mazzaropi made a movie and with the box office
of this one was making the next movie the following year, without help or encouragement government culture.
So as at that time it was known the cashier system two of the box office of the
movie theaters. When the person handed in the ticket to enter he would go back to the box office
and was sold again. So when the box office closed it looked like they had sold 300 tickets,
but they had actually sold 1000. Mazzaropi knowing this paid a tax to stay
next to the box office with two counters number one for half entry and one for
whole and no one could steal from him. As a great star, in 1972 he was received
by the then president of the republic, the general Emilio Garrastazu Medici, who was his fa
and did not make a plea, asked for more support to Brazilian cinema.
In 1973, produced Portugal, my longing, with scenes recorded in Brazil and Portugal.
Build a large film studio in Taubate, a set design workshop and a hotel for
the actors and technicians. Produced and distributed five more films by 1979.
He reconciled two almost incomparable things. He was successful as an artist and as an entrepreneur.
He became a millionaire and in parallel produced milk, being one of the largest suppliers of
Leites Paulista company, his farm delivered about 1000 liters of milk per day.
In the 70’s, already with PAM Filmes well structured on his farm, Mazzaropi produced
some movies, satirizing big hits Holywood commercials, such as the “Jeca against
the Capeta ”, a satire of the movie“ Exorcist ”. At the PAM Filmes studios in Taubaté,
eighteen of his films were produced, all them with the participation of Geni Prado, playing
Jeca’s wife. Geni performed alongside Mazzaropi’s in twenty-one movies. Your industry
cinema, only produced his films, ie one movie a year.
Never married, your closest friends say that Mazzaropi was homosexual, already
according to one of his adopted children, André, Mazzaropi, had a “platonic” love for
host and friend Hebe Camargo. It was very reserved. I didn’t give interviews
because he said they distorted everything he spoke.
He was very attached to his mother. When actor and host Roni Von had
a serious illness that kept him in bed for three years ago, Mazzaropi came to São Paulo and
for several days was going to prose with his friend to cheer you up.
He had five adopted children: Pericles Moreira (1943-?), Pedro Francelino de Souza (1954-2009),
John the Baptist of Souza (1953-1983), Carlos Garcia (1942-2008) and André Luiz Mazzaropi.
His adopted son, Pericles, who was a son his maid, helps him in the production of
movies. Just before the beginning of the recording of
his 33rd movie: “Jeca and Maria Tromba Homem” that would star Tonia Carrero, Mazzaropi
was feeling sick. After 26 days in hospital Albert Einstein in Sao Paulo, died in the
June 13, 1981, at the age of 69, victim of bone marrow cancer. Was buried
in Pindamonhangaba, next to his father. In his 28 years of career, Mazzaropi has made
success he went through, at the circus, on the radio, Brazilian cinema, theater and television.
There is praise for Chaplin in the work of Mazzaropi according to some critics because
their assessment standards consider only comical that what came with a
poetic paper. He only made movies that could be seen by the Brazilian family.
Mazzaropi is undoubtedly the greatest comedian of Brazilian Cinema.
Built a style that will always be imitated, but never surpassed.
As Paulo Emílio Salles Gomes said, “The best of Mazzaropi’s movies is himself. ”
Your name is synonymous with success and respected even by critics, who didn’t like
of his films, but surrendered to his talent. Our country must have memory and remember,
praise a rich trajectory like Mazzaropi’s, not to risk him being forgotten
for the time. The nearly 30 million dollar empire
that Mazzaropi built was destroyed by heirs after his death with all his
goods, including his films, by auction. But the farm hotel where your studio is
continues to exist, now called Hotel Mazzaropi Farm, maintainer of the Mazzaropi Museum,
located in Taubaté, with a collection of more of 6,000 pieces.
Your memory is in the museum, in the hotel, in a house of culture, in a school, in the name
of a street, in a movie, in a country music, and in the samba plot of a samba school.
Recently, a collection was released on DVD. 22 of his films in seven volumes. Great
Maze This is our story today.
I hope I have contributed to your day nice moments!
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