Elis & Tom, só tinha de ser com você 2023 Movie Review
The first asset of Elis & Tom: Só Nunca de Ser com Você is the use of old 16mm footage, from behind the scenes of the genesis of Elis & Tom , one of the main albums of Brazilian music. Directors Roberto de Oliveira and Jom Tob Azulay make good use of the beautifully restored collection, which gives the documentary an intimate and personal dimension. We see Elis Regina and Tom Jobimfine-tuning things in the studio so that their distinct musical proposals converge into something capable of proving (even more) the genius of both. Exceptional shots, such as the maestro smoking during a duet, reinforce the idea of proximity between the camera and the characters, as well as the detachment of the giants being captured by the lenses. The script written by Roberto de Oliveira in partnership with Nelson Motta opts for a safe path: first, it summarizes the story of one of the intellectual fathers of Bossa Nova, a functional approach for new generations to understand the importance of Tom Jobimto world scenes, since it appeared in Rio de Janeiro with an unmistakable style; second, he does practically the same procedure with Pimentinha, the gaúcha Elis who in 1974 (when the album was recorded) sought to reposition her career after her controversial performance at the Army Olympics – for which she was harshly criticized, as it was in force in Brazil the cruel Civil-Military Dictatorship.
To help tell the stories that the images do not reach/retain, the filmmaking duo resorts to testimonies from eyewitnesses, as well as from Elis and Tom ‘s family members . Then, once the contexts of the protagonists are drawn (something that characterizes the first third of the feature film), we move on to the interesting seam of the lines of people who were on the recording of Elis & Tom and of some relatives who help to keep on the horizon the personal layer of geniuses. Elis & Tom: Só Had de Ser com Você does not have great cinematographic ambitions, other than that of properly telling the stories behind a fundamental event in the careers of both artists. Elis and Tomdid not necessarily inhabit the same universe – she sanguine, he minimalist –, but they joined forces to produce a remarkable album that has unavoidable songs, such as Águas de Março, Só Tinha de Ser com Você, Por Toda a Minha Vida , among others. immortalized melodies. The film is essentially concerned with portraying the event, which is why it does not delve so deeply into the creative process, even though it offers interesting details about it, such as the fact that Tom gradually imposes himself on a record in which, at the beginning, he would act as the big special guest. And the deponents offer complementary readings, including moments of turbulence and discontent.
There are many possible films in Elis & Tom: It just had to be with you . If Roberto de Oliveira and Jom Tob Azulay wanted to, they could have given up on the testimonies and created a film just with the beautiful archive images. The filmmakers could have highlighted, precisely, the creative process of these different artists who collaborated in a crucial moment in both their lives. However, Roberto and Jom opt for a comprehensive approach, in which there is a little of each possibility mentioned and others, such as the memories of their children helping to rescue for posterity what Elis and Tomexperienced and how they thought about their existence in the world of music. Sometimes the urge to synthesize multiple elements takes a toll. Excerpts from international television programs in which the protagonists appeared add little to the beautiful and nostalgic tapestry, as they generally serve to reiterate the relevance of both abroad, but without offering as a counterpoint the finding that the two were not always treated well in Brazil . One statement in particular is quite enlightening about the process, that of César Camargo Mariano, Elis’s ex-husband and in charge of the album’s arrangements – he suffered at the hands of a perfectionist Tom Jobim who insisted on imposing ideas and styles. However, the directors distance themselves from controversies and avoid this sensational bias.
Elis & Tom: Só Had to Ser com Você also carries as “fat” (something left over at certain times) the praise for the protagonists. However, this seems to be part of the aforementioned strategy of making Elis and Tom accessible, not only to audiences who understand their importance, but also to those who are not familiar with their noble careers. Strictly as a documentary, this achievement fulfills an evocative/informative role, as it brings up the precious records of a fundamental episode in Brazilian music and even takes care to stitch together the data to avoid misunderstandings. Returning to Cesar Camargo Mariano’s illustrative statements, there is a reservation in them regarding criticizing Tom Jobimfor his pedantic and, as we say from time to time, toxic behavior. The film also does not open up the portrayal of this contradiction – yes, because someone artistically genius can also be unpalatable when dealing with friends and collaborators. However, as the film’s premise is to praise the creation of a masterpiece and its father and mother, Roberto de Oliveira and Jom Tob Azulay consciously choose to leave controversies in a less prominent place, treating them as normal consequences of the clash between capitalized stars. The result is an engaging film in the way it outlines the stages of collaboration, with beautiful archival footage, but content with celebrating the protagonists.
