Brazil has a love-hate relationship with Carmen. For many years she was almost considered a traitor for leaving Brazil and moving to Hollywood. But time has been kind to Carmen, and four decades after her death she is still considered by all to be Brazil's greatest song and dance talent. She was Brazil's first and greatest international star. For better or worse, all Brazilian women (and latinas) are affected by her image. She forever set the standard for the fun, sexy, wild and mischievious latin woman (as opposed to the cool, cold, serious gringas - the American woman).
Brazil's greatest star was born in Europe, in the city of Porto, Portugal, in 1909 (known for its fine wine). Baptized Maria do Carmo Miranda da Cunha Somehow Maria do Carmo became Carmen (possibly becouse of the Opera?). At age one her family moved to Brazil where her father had a barber shop in the Lapa district. As a young girl she took a job as a hat clerk (very appropriate!) at a small shop on Rua do Ouvidor, a narrow street in downtown Rio. Even childhood pictures some the smile and exuberance that was to become her trademark. At age 20 she did her first recording and a year later, in 1930, she appeared on stage in the run down Praça Tiradentes in Rio, playing a wild, foul-mouthed prostitute. That same year she launched he sing career with "Taí -- Eu Fiz Tudo Pra Você Gostar de Mim" (There it is, I Did Everything For You To Like Me), climbing to the top of the charts.
p6. The littlle shop on Ouvidor street where Carmen worked making hats.
In ther mid 30s Carmen entered her "Bahiana phase", recording a series of songs dealing with the traditions and culture of the people of the state of Bahia, a region of Brazil where the African influence is greatest. Perhaps her greatest hit was her recording in 39 of "O que É que a Baiana Tem?" (What does the woman from Bahia have?) by Dorival Caymmi . With this song she also really developed the famous arms and hip movements that became her trademark (along with the tutti-frutti hats).
In the same year an American entrepreneur saw Carmen perform at the Casino da Urca, a famous night club. He was fascinated and invited her to go to New York. She insisted on taking her musical group "Bando da Lua" with her, a move that probably made all the difference, since no American band would have been familiar with the Brazilian rythms she sang. She began her American career as a minor act in the musical show "The Streets of Paris"on Broadway. In one week her name of on top of the billing. Pretty good, Carmen! In a few months she had made a name for herself in the American entertainment industry.
p5. The Casino da Urca
In 1940 Carmen returned to Brazil, but things had changed. At the Casino da Urca the audience wa silent and some even booed. Many people felt that she had made Brazilians look like a bunch of over-sexed savages or ridiculous, happy fools. They said she had sold out to Hollywood. Carmen's good humor was evident in her response, a song called " Disseram que Voltei Americanizada (They Said That I Came Back Americanized). Very dissapointed with the criticism in Brazil she returned to the United States and conquered Hollywood. Carmen made fourteen films in the United States, in all of them falling victim to her own image, portraying basically the same character, singing the same songs and even wearing the same clothes (and hats). She stopped recording in Portuguese and seemed to accept the fate of sensual singing clown. She was, however, a very succesful clown, paying more in income taxes to Uncle Sam than any other star in Hollywood.
Although her image earned her her tons of money, it was not much appreciated in Brazil, or the rest of Latin America. With every film, she became less of a Brazilian and more of some unknown species combining Mexico, Cuba, Argentina and Brazil. The stages looked more like Mexico than Bahia. The names of the characters were more Spanish than Portuguese. All names ended in "ita" rather than in the Portuguese form "inha".She not only offended Brazilians, but managed to get in hot water with other countries as well. Argentina even banded her picture "Down Argentine Way" as being insulting. In her movie "South American Way" all latinas south of the equator were understood to be mostly ignorant and/or stupid, but saved by their charm and love of sex. In most of her movies, the hero will flirt with Carmen, but always end up with the dull, blonde, serious American girl (loira peituda chata!).
Another picture of Carmen Miranda
What is most remembered about Carmen is the stereotype of the wild, vulgar, innocent, flashy, language-challanged Latina. She could never excape this image, and as the years went by, her roles became more caricaturish - almost ridiculous. Carmen tried to break away from this image, but without any real prospect of transitioning to serious roles. She was much too successful as the lady with the wild gestures, crooked smile and outlandish hats. Even her voice became secondary. She must have realized this and to a degree, accepted her fate, as seen in her good humored remark that "bananas is my business".
As the years pasted, the frivolity of Hollywood roles and the rejection by her Brazilian public must have contributed to her emotional and physical problems, including depression (treated by eletrical shocks) and substance abuse. On August 5, 1955 she took a bad fall. Next morning she was dead. For the third and last time since 1939, Carmen returned to Brazil. At last she received the recognition she so desired. Hundreds of thousands turned out in the streets of Rio to pay homage to Brazil's greatest star. In a small forgotten bit of irony, Carmen died exactly 5 years to the day before Marilyn Monroe, another exploited, depressed victim of Hollywood's merciless stereotyping. It is said that at her burial the priest refused to say final rites because of Carmen's heavy make-up.
As stars go, Carmen certainly earned a place in the galaxy. She was fortunate to to work with the very best of both worlds: Ari Barroso, Dorival Cayimmi, Silvio Caldas, João de Barro, Alberto Ribeiro, Pixinguinha, Assis valente
In Hollywood she starred with most of the greats of the 30s and 40s; Marx, Roony, Jerry Lewis, Cesar Romero, Alice Faye. Some of the movies of her "Hollywood phase" are:
For those truely interested in Carmen, no better tribute exists than Helena Solberg's documentary "Carmen Miranda: Bananas Is My Business" .
Carmen was tr The reason for her success is three fold: 1) her artistic talent, even if rarely appreciated by an American audience and especially; 2) her exotic good humor, always appreciated by those around her. This image of Carmen has become more of an icon of Carmen herself and less of a stereotype as the decades have passed; and 3) her pioneering stage act, with the wild costumes and exotic personality. More than any one else, Carmen was responsible for the "Brazilian Way" of singing and has more deeply influences Brazilian popular music than anyone else. Contrary to what Brazilians thought, Carmen never became Americanized. She was always Carmen, the "Little Notable One".
p3. The Carmen Miranda Museum in Rio de Janeiro
p4. Inside the Museum
