A century after his suicide in Paris, at 25, Mário de Sá-Carneiro has not freed entirely from the giant shadow of Fernando Pessoa, still often seen as fancy friend of the great universal poet a kind of number two of our first modernism. However, if the poet Clues Oiro was the first to recognize the artistic supremacy person, it is quite possible that this friendship as creatively fruitful for both the debt poet of heteronyms Sá-Carneiro have been even more decisive than the reverse.
One of the merits of the documentary the Strange Case Sá-Carneiro of Mario with conducting Paulo Seabra and argument José Mendes, who RTP2 debut this Tuesday at 23h20, it is to come rebalance, through the comments of a well-chosen expert panel – which includes, among others, Eduardo Lourenço, Fernando Cabral Martins, Richard Zenith and Jeronimo Pizarro – this should be e-literature between the two main workers of tsunami modernist Orpheu . Yes, person stimulated novelist and playwright Sá-Carneiro Mario to become a poet, but this one, which in its privileged Parisian observation post watching the explosion of futurism and cubism, convinced his friend that the vanguard was to take Really. And without that click , perhaps the work of Fernando Pessoa and his own heteronímico split had followed other paths.
Author Aesthetics, Advertising and Utopia in Portugal António iron (2012) and several other documentaries, Paul says Seabra have faced this time a limitation had not felt in previous work: to have “little raw.” Sá-Carneiro’s life was short – had not yet made 26 when he killed himself – and what was, in documentary terms, was a set of photographs, letters from the author Fernando Pessoa, other correspondence with family and friends and of course, his literary work.
This relative scarcity allowed the documentary to give space and time to work with readings by several voices, striking poems in Sá-Carneiro path, sometimes accompanied by a creative and fun selection of images that almost turns them into small video clips or short films autonomizáveis.
One of the most powerful scenes in the film is the expressive reading Eduardo Lourenço’s poem Women , which Sá-Carneiro writes: “(…) I wanted to be a woman to have many lovers / E fool them all – even to the beloved – / As I like to fool my blonde lover, thinner, / With a fat, ugly guy, extravagant ways … “. At the beginning of the documentary, it’s Lawrence that sets the mood for a number of commentators who then will highlight the intensity of Sá-Carneiro, also suggested visually through images of a burning furnace. “It’s the one who took the poetry of myth further, and died due to this myth,” says the essayist, noting that Sá-Carneiro “is not defined by anything,” if not embody the idea of ”poetry as quintessence of human reality. “
Developing conversation with the PUBLIC which advocates in several speeches throughout the film, Fernando Cabral Martins notes that, unlike Person,” which is a project man of vast mental architectures, Sá-Carneiro is strength, energy, intuition. ” And when these two personalities so different are the effect is explosive. “The relationship between them is very strong, and it was in that ricochet on that bridge set one to the other, who started things only to spend the existence of these two poles allowed to desencadeassem” says Cabral Martins, responsible for several poetry editions and Sá-Carneiro’s prose, coordinator Dictionary of Fernando Pessoa and Modernism Portuguese and author of Modernism in Mário de Sá-Carneiro (1997).
“And of the two, the first to have great ideas is Sá-Carneiro, as the idea of avant-garde, which joined before Fernando Pessoa, who was much more conservative,” argues Cabral Martins. “He was in Paris, then the world cultural capital, and had the capacity to realize that the vanguard was serious, not a bad joke with which it was not worth wasting time, as at the time thought many, and can pass this conviction the person, who was not at all upset for it. “
