Estante da Sala

Figurino: Os Sapatinhos Vermelhos

Texto originalmente publicado na coluna Vestindo o Filme em 15/02/2014.

A colaboração entre os diretores e roteiristas Michael Powell e Emeric Pressburger, autointitulados Os Arqueiros (The Archers) gerou diversos belos filmes, entre eles um que, sem dúvida, pode ser considerado uma das maiores obras-primas já produzidas: Os Sapatinhos Vermelhos, de 1948. O filme é de uma beleza impressionante e tem um uso de cores primoroso. Todo o seu design de produção é lindíssimo, passando pelos cenários até chegar ao figurino criado por Hein Heckroth. Como muito bem definido por Leonardo Alexander o filme é “uma exaltação do poder da arte”.
Trata-se de uma trágica história de paixão pela dança, obsessão pela arte e de uma bailarina que se torna protagonista de uma peça que retrata sua própria trajetória. (Percebe-se que Cisne Negro bebeu dessa fonte.)
Victoria Page (Moira Shearer) é uma bailarina que ao longo da carreira fez muitos papéis principais, mas nunca em uma grande companhia. A chance aparece quando conhece Boris Lermontov (Anton Walbrook), um diretor rigoroso que parece apostar em seus talentos. Além de Victoria, Lermontov acredita no jovem compositor Julian Craster (Marius Goring), que é convidado a reger a orquestra de sua companhia e compor para ela.
A primeira cena que vemos é grupo de estudantes correndo para conseguir lugar no teatro e assistir a um balé composto por seu professor. Esse grupo de pessoas é uma massa marrom, pontuada de azul e amarelo. Essa cena não só mostra a paixão deles pela arte que assistirão, como nos apresenta à paleta de cores básica do filme: amarelo (saindo do areia, passando pelo mostarda até tons acastanhados) e azul (do mais claro, passando pelos esverdeados e acinzentados até o azul-marinho). Essas cores estarão presentes em cada uma das cenas, em ambos, roupas e cenários e, junto com o vermelho, que terá destaque posteriormente, são as três cores primárias. As duas primeiras ajudam a destacar o terceiro. Raramente se apresentam em suas formas puras: geralmente estão esmaecidas. A composição das cores em cena contam uma história por si só.

01

Encantada com a peça, Victoria nos é apresentada utilizando um vestido azul-marinho com capa, adornados com renda branca e uma coroa como acessório. É esse traje que utiliza quando Lermontov conversa com ela pela primeira primeira vez, iluminada estrategicamente por um castiçal ao seu lado. Ele, então, a convida para fazer um teste com o objetivo de ingressar em sua companhia.

02

Após a apresentação, no outro dia, Lermontov recebe suas correspondências em seu escritório. Todo o ambiente segue o padrão de tons amarelo, dos claros aos castanhos. Contrastando com o entorno e tornando-se um ponto focal, ele veste uma espécie de robe azul com bordados dourados. A forma da peça demonstra seu pendor artístico, destacando uma certa teatralidade em suas maneiras, mesmo na intimidade do lar. O posicionamento dos elementos mais fortes em amarelo (os vasos de flores) servem para destacá-lo e emoldurá-lo no ambiente. Quando se senta para tomar café, seu valete reposiciona o melão na mesa, trazendo o destaque novamente para perto dele.

03

Outro detalhe sobre Lermontov é a insígnia vermelha que utiliza em sua lapela. Esse detalhe, embora pequeno, tem grande importância, pois indica que o personagem foi condecorado com a Légion d’Honneur (Legião de Honra), por trazer glória à nação francesa. O título é bastante valorizado e o posiciona como um grande artista.

04

Fugindo das cores que todos os demais vestem, temos Irina Boronskaja, a prima ballerina da companhia no começo do filme. Suas roupas sempre serão em preto e branco, quebrados pelo vermelho de seu batom. Irina é despedida por Lermontov após anunciar que vai se casar, pois ele não acredita que a paixão possa ser dividida. Quando Victoria passa a ser a principal bailarina, imediatamente passa, ela mesma, a usar preto e branco, durante um ensaio, ocupando visualmente o papel de Irina.

05

Mantendo a coerência, a paleta baseada em cores primárias também se faz presente nos trajes dos personagens secundários e figurantes, tanto dentro quanto fora da peça. Geralmente a opção é pelo uso delas em suas versões enfraquecidas, de maneira que o vermelho aparece como rosa.

06

No dia em que é chamada para um entrevista em que é avisada que será a protagonista da próxima peça, Victoria deixa escapar seu primeiro contato com o vermelho: escondido sob o vestido azul, uma volumosa anágua rosa aparece. O colar e a coroa remetem ao dia em que conheceu Lermontov. Na sala com tons amarelos e cinza-azulados, novamente um vaso de flores, dessa vez rosa, cria um ponto focal entre os dois personagens de azul. A roupa dela, excessivamente formal para um encontro diurno, demonstra sua ansiedade e desejo de agradar seus superiores.

07

A peça será Os Sapatinhos Vermelhos, baseada no conto de Hans Christian Andersen, que conta a história de uma moça que adquire um par de sapatos vermelhos para ir a um baile e passa a noite toda dançando sem parar. Ao ir para casa, descobre que não consegue parar de dançar e por isso é levada à exaustão. A única forma de livrá-la da maldição é cortando fora seus pés. Mesmo assim, os sapatos seguem dançando. A música será composta por Craster. Na noite em que ambos são delegados aos seus grandes papéis, conversam pela primeira vez de verdade. Os dois vestem roupas listradas em azul, que os aproximam, mas ele com jaqueta amarela e ela em rosa, o vermelho controlado. Em frente ao seu balcão, passa um trem, como um aviso acerca do trágico final da trama.

08

Quando a peça estreia, o filme a mostra em uma sequência impressionante que dura em torno de quinze minutos. Na infância do cinema, muito de sua linguagem era tomada do teatro: os cenários, a atuação, a composição de planos médios, mostrando tudo que ocorre em cena como ocorreria em uma peça. Em 1948, quando o esse filme foi lançado, o cinema já era maduro o suficiente para explorar suas próprias particularidades. Ao retratar o balé, o filme vai além do que seria possível em uma apresentação convencional e faz o que nenhuma peça jamais poderia fazer, utilizando close no rosto de sua protagonista e mesmo efeitos especiais que ajudam na criação da fantasia. Nesse mundo amarelo e azul, cores também das duas versões do vestido de Victoria usado em palco, finalmente as suas sapatilhas vermelhos se destacam. A arte, através da dança, está no seu ápice.

09

Quando a sombra do sapateiro recai sobre ela, ele é ao mesmo tempo Lermontov e Craster. Dançar é maldição e é paixão. A bailarina se ergue ao ar como uma flor, um pássaro, uma nuvem: resultado perfeito da visão do compositor sobre a obra. A fantasia e a realidade se fundem, unindo, também, os dois artistas. Com a morte de sua personagem vêm a consagração e o estrelato de Victoria.

10

Acontece que Victoria e Craster iniciam um romance, fato que desagrada imensamente Lermontov. Os ciúmes dele em relação a Victoria não têm relação com desejo: ele tem ciúmes de seu talento, quer exclusividade sobre sua arte. Afinal, nem a mente nem o coração podem estar na dança quando se está sonhando com amor, como ele mesmo diz. Craster é demitido. Desolados, ambos estão sentados em uma praça, dessa vez ela de azul e ele de amarelo, em trajes praticamente idênticos. Victoria decide falar com Lermontov, para também demitir-se. Utiliza uma roupa azul-marinho com detalhes em branco, espelhando novamente a primeira vez em que ele lhe deu a chance de trabalhar para sua companhia.

11

Em seu apartamento, refletindo sobre os últimos acontecimentos, Lermontov mais uma vez veste uma roupa extravagante, que parece um figurino exótico. Dessa vez ele passou a usar um gibão de veludo vermelho, com forro interno amarelo, que se liga à cortina de veludo do palco do teatro, com suas franjas douradas. Da mesma forma o ambiente, com paredes azuis e decoração em vermelho e dourado, também remetem ao teatro, que segue o mesmo padrão de cores.

12

Atormentada e dividida entre o amor e a vontade de dançar, Victoria volta para mais uma apresentação de Os Sapatinhos Vermelhos. Seus pés, como no conto, criam vida própria e passam a ser o foco em cena, quando se ergue uma última vez ao ar.

13

O uso preciso das cores é extremamente importante na narrativa de Os Sapatinhos Vermelhos. São filmes como esse que despertam saudades do Technicolor. Mas não são apenas as cores, como também música, dança, cenografia, figurino, direção impecável: tudo colabora para a criação de uma obra audiovisual incomparável.

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14 thoughts on “Figurino: Os Sapatinhos Vermelhos

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  10. Whether you believe in God or not, this is a must-read message!!!

    Throughout time, we can see how we have been slowly conditioned to come to this point where we are on the verge of a cashless society. Did you know that the Bible foretold of this event almost 2,000 years ago?

    In Revelation 13:16-18, we read,

    “He (the false prophet who decieves many by his miracles) causes all, both small and great, rich and poor, free and slave, to receive a mark on their right hand or on their foreheads, and that no one may buy or sell except one who has the mark or the name of the beast, or the number of his name.

    Here is wisdom. Let him who has understanding calculate the number of the beast, for it is the number of a man: His number is 666.”

    Referring to the last generation, this could only be speaking of a cashless society. Why? Revelation 13:17 tells us that we cannot buy or sell unless we receive the mark of the beast. If physical money was still in use, we could buy or sell with one another without receiving the mark. This would contradict scripture that states we need the mark to buy or sell!

    These verses could not be referring to something purely spiritual as scripture references two physical locations (our right hand or forehead) stating the mark will be on one “OR” the other. If this mark was purely spiritual, it would indicate only in one place.

    This is where it really starts to come together. It is shocking how accurate the Bible is concerning the implatnable RFID microchip. These are notes from a man named Carl Sanders who worked with a team of engineers to help develop this RFID chip

    “Carl Sanders sat in seventeen New World Order meetings with heads-of-state officials such as Henry Kissinger and Bob Gates of the C.I.A. to discuss plans on how to bring about this one-world system. The government commissioned Carl Sanders to design a microchip for identifying and controlling the peoples of the world—a microchip that could be inserted under the skin with a hypodermic needle (a quick, convenient method that would be gradually accepted by society).

    Carl Sanders, with a team of engineers behind him, with U.S. grant monies supplied by tax dollars, took on this project and designed a microchip that is powered by a lithium battery, rechargeable through the temperature changes in our skin. Without the knowledge of the Bible (Brother Sanders was not a Christian at the time), these engineers spent one-and-a-half-million dollars doing research on the best and most convenient place to have the microchip inserted.

    Guess what? These researchers found that the forehead and the back of the hand (the two places the Bible says the mark will go) are not just the most convenient places, but are also the only viable places for rapid, consistent temperature changes in the skin to recharge the lithium battery. The microchip is approximately seven millimeters in length, .75 millimeters in diameter, about the size of a grain of rice. It is capable of storing pages upon pages of information about you. All your general history, work history, crime record, health history, and financial data can be stored on this chip.

    Brother Sanders believes that this microchip, which he regretfully helped design, is the “mark” spoken about in Revelation 13:16–18. The original Greek word for “mark” is “charagma,” which means a “scratch or etching.” It is also interesting to note that the number 666 is actually a word in the original Greek. The word is “chi xi stigma,” with the last part, “stigma,” also meaning “to stick or prick.” Carl believes this is referring to a hypodermic needle when they poke into the skin to inject the microchip.”

    Mr. Sanders asked a doctor what would happen if the lithium contained within the RFID microchip leaked into the body. The doctor replied by saying a terrible sore would appear in that location. This is what the book of Revelation says:

    “And the first (angel) went, and poured out his vial on the earth; and there fell a noisome and grievous sore on the men which had the mark of the beast, and on them which worshipped his image” (Revelation 16:2).

    You can read more about it here–and to also understand the mystery behind the number 666: https://2ruth.org/rfid-mark-of-the-beast-666-revealed/

    The third angel’s warning in Revelation 14:9-11 states,

    “Then a third angel followed them, saying with a loud voice, ‘If anyone worships the beast and his image, and receives his mark on his forehead or on his hand, he himself shall also drink of the wine of the wrath of God, which is poured out full strength into the cup of His indignation. He shall be tormented with fire and brimstone in the presence of the holy angels and in the presence of the Lamb. And the smoke of their torment ascends forever and ever; and they have no rest day or night, who worship the beast and his image, and whoever receives the mark of his name.'”

    Who is Barack Obama, and why is he still in the public scene?

    So what’s in the name? The meaning of someone’s name can say a lot about a person. God throughout history has given names to people that have a specific meaning tied to their lives. How about the name Barack Obama? Let us take a look at what may be hiding beneath the surface.

    Jesus says in Luke 10:18, “…I saw Satan fall like lightning from heaven.”

    The Hebrew Strongs word (H1299) for “lightning”: “bârâq” (baw-rawk)

    In Isaiah chapter 14, verse 14, we read about Lucifer (Satan) saying in his heart:

    “I will ascend above the heights of the clouds, I will be like the Most High.”

    In the verses in Isaiah that refer directly to Lucifer, several times it mentions him falling from the heights or the heavens. The Hebrew word for the heights or heavens used here is Hebrew Strongs 1116: “bamah”–Pronounced (bam-maw’)

    In Hebrew, the letter “Waw” or “Vav” is often transliterated as a “U” or “O,” and it is primarily used as a conjunction to join concepts together. So to join in Hebrew poetry the concept of lightning (Baraq) and a high place like heaven or the heights of heaven (Bam-Maw), the letter “U” or “O” would be used. So, Baraq “O” Bam-Maw or Baraq “U” Bam-Maw in Hebrew poetry similar to the style written in Isaiah, would translate literally to “Lightning from the heights.” The word “Satan” in Hebrew is a direct translation, therefore “Satan.”

    So when Jesus told His disciples in Luke 10:18 that He beheld Satan fall like lightning from heaven, if this were to be spoken by a Jewish Rabbi today influenced by the poetry in the book of Isaiah, he would say these words in Hebrew–the words of Jesus in Luke 10:18 as, And I saw Satan as Baraq O Bam-Maw.

    The names of both of Obama’s daughters are Malia and Natasha. If we were to write those names backward (the devil does things in reverse) we would get “ailam ahsatan”. Now if we remove the letters that spell “Alah” (Allah being the false god of Islam), we get “I am Satan”. Coincidence? I don’t think so.

    Obama’s campaign logo when he ran in 2008 was a sun over the horizon in the west, with the landscape as the flag of the United States. In Islam, they have their own messiah that they are waiting for called the 12th Imam, or the Mahdi (the Antichrist of the Bible), and one prophecy concerning this man’s appearance is the sun rising in the west.

    “Then I saw another angel flying in the midst of heaven, having the everlasting gospel to preach to those who dwell on the earth—to every nation, tribe, tongue, and people— saying with a loud voice, ‘Fear God and give glory to Him, for the hour of His judgment has come; and worship Him who made heaven and earth, the sea and springs of water.'” (Revelation 14:6-7)

    Why have the word’s of Jesus in His Gospel accounts regarding His death, burial, and resurrection, been translated into over 3,000 languages, and nothing comes close? The same God who formed the heavens and earth that draws all people to Him through His creation, likewise has sent His Word to the ends of the earth so that we may come to personally know Him to be saved in spirit and in truth through His Son Jesus Christ.

    Jesus stands alone among the other religions that say to rightly weigh the scales of good and evil and to make sure you have done more good than bad in this life. Is this how we conduct ourselves justly in a court of law? Bearing the image of God, is this how we project this image into reality?

    Our good works cannot save us. If we step before a judge, being guilty of a crime, the judge will not judge us by the good that we have done, but rather by the crimes we have committed. If we as fallen humanity, created in God’s image, pose this type of justice, how much more a perfect, righteous, and Holy God?

    God has brought down His moral laws through the 10 commandments given to Moses at Mt. Siani. These laws were not given so we may be justified, but rather that we may see the need for a savior. They are the mirror of God’s character of what He has put in each and every one of us, with our conscious bearing witness that we know that it is wrong to steal, lie, dishonor our parents, murder, and so forth.

    We can try and follow the moral laws of the 10 commandments, but we will never catch up to them to be justified before a Holy God. That same word of the law given to Moses became flesh about 2,000 years ago in the body of Jesus Christ. He came to be our justification by fulfilling the law, living a sinless perfect life that only God could fulfill.

    The gap between us and the law can never be reconciled by our own merit, but the arm of Jesus is stretched out by the grace and mercy of God. And if we are to grab on, through faith in Him, He will pull us up being the one to justify us. As in the court of law, if someone steps in and pays our fine, even though we are guilty, the judge can do what is legal and just and let us go free. That is what Jesus did almost 2,000 years ago on the cross. It was a legal transaction being fulfilled in the spiritual realm by the shedding of His blood.

    For God takes no pleasure in the death of the wicked (Ezekiel 18:23). This is why in Isaiah chapter 53, where it speaks of the coming Messiah and His soul being a sacrifice for our sins, why it says it pleased God to crush His only begotten Son.

    This is because the wrath that we deserve was justified by being poured out upon His Son. If that wrath was poured out on us, we would all perish to hell forever. God created a way of escape by pouring it out on His Son whose soul could not be left in Hades but was raised and seated at the right hand of God in power.

    So now when we put on the Lord Jesus Christ (Romans 13:14), God no longer sees the person who deserves His wrath, but rather the glorious image of His perfect Son dwelling in us, justifying us as if we received the wrath we deserve, making a way of escape from the curse of death–now being conformed into the image of the heavenly man in a new nature, and no longer in the image of the fallen man Adam.

    Now what we must do is repent and put our trust and faith in the savior, confessing and forsaking our sins, and to receive His Holy Spirit that we may be born again (for Jesus says we must be born again to enter the Kingdom of God–John chapter 3). This is not just head knowledge of believing in Jesus, but rather receiving His words, taking them to heart, so that we may truly be transformed into the image of God. Where we no longer live to practice sin, but rather turn from our sins and practice righteousness through faith in Him in obedience to His Word by reading the Bible.

    Our works cannot save us, but they can condemn us; it is not that we earn our way into everlasting life, but that we obey our Lord Jesus Christ:

    “And having been perfected, He became the author of eternal salvation to all who obey Him.” (Hebrews 5:9)

    “Now I saw a new heaven and a new earth, for the first heaven and the first earth had passed away. Also there was no more sea. Then I, John, saw the holy city, New Jerusalem, coming down out of heaven from God, prepared as a bride adorned for her husband. And I heard a loud voice from heaven saying, ‘Behold, the tabernacle of God is with men, and He will dwell with them, and they shall be His people. God Himself will be with them and be their God. And God will wipe away every tear from their eyes; there shall be no more death, nor sorrow, nor crying. There shall be no more pain, for the former things have passed away.’

    Then He who sat on the throne said, ‘Behold, I make all things new.’ And He said to me, ‘Write, for these words are true and faithful.’

    And He said to me, ‘It is done! I am the Alpha and the Omega, the Beginning and the End. I will give of the fountain of the water of life freely to him who thirsts. He who overcomes shall inherit all things, and I will be his God and he shall be My son. But the cowardly, unbelieving, abominable, murderers, sexually immoral, sorcerers, idolaters, and all liars shall have their part in the lake which burns with fire and brimstone, which is the second death.'” (Revelation 21:1-8).

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