Luiz de Barros (partially found films from Brazilian director; 1916-1977): Difference between revisions
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| Line 27: | Line 27: | ||
|''The Widow'' | |''The Widow'' | ||
|''A Viuvinha'' | |''A Viuvinha'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|2 | |2 | ||
|''Lost'' | |''Lost'' | ||
|''Perdida'' | |''Perdida'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|3 | |3 | ||
|''Dead or Alive'' | |''Dead or Alive'' | ||
|''Vivo ou Morto'' | |''Vivo ou Morto'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1918 - | | colspan="4" align="center" style="background:#ffdead" | - 1918 - | ||
| Line 44: | Line 44: | ||
|''013'' | |''013'' | ||
|''013'' | |''013'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|5 | |5 | ||
|''The Debacle'' | |''The Debacle'' | ||
|''A Derrocada'' | |''A Derrocada'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1919 - | | colspan="4" align="center" style="background:#ffdead" | - 1919 - | ||
| Line 56: | Line 56: | ||
|''Country Soul'' | |''Country Soul'' | ||
|''Alma Sertaneja'' | |''Alma Sertaneja'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|7 | |7 | ||
|''Ubirajara'' | |''Ubirajara'' | ||
|''Ubirajara'' | |''Ubirajara'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1920 - | | colspan="4" align="center" style="background:#ffdead" | - 1920 - | ||
| Line 68: | Line 68: | ||
|''Heart of Gaucho'' | |''Heart of Gaucho'' | ||
|''Coração de Gaúcho'' | |''Coração de Gaúcho'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|9 | |9 | ||
|''The Cursed Jewel'' | |''The Cursed Jewel'' | ||
|''A Joia Maldita'' | |''A Joia Maldita'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|10 | |10 | ||
|''Adventures of Gregory'' | |''Adventures of Gregory'' | ||
|''Aventuras de Gregório'' | |''Aventuras de Gregório'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1922 - | | colspan="4" align="center" style="background:#ffdead" | - 1922 - | ||
| Line 85: | Line 85: | ||
|''The Black Knight'' | |''The Black Knight'' | ||
|''O Cavaleiro Negro'' | |''O Cavaleiro Negro'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|12 | |12 | ||
|''The Brazilian Army'' | |''The Brazilian Army'' | ||
|''O Exército Brasileiro'' | |''O Exército Brasileiro'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|13 | |13 | ||
|''The Rio Grande do Sul'' | |''The Rio Grande do Sul'' | ||
|''O Rio Grande do Sul'' | |''O Rio Grande do Sul'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|14 | |14 | ||
|''Sacadura Cabral and Gago Coutinho in Rio de Janeiro'' | |''Sacadura Cabral and Gago Coutinho in Rio de Janeiro'' | ||
|''Sacadura Cabral e Gago Coutinho no Rio de Janeiro'' | |''Sacadura Cabral e Gago Coutinho no Rio de Janeiro'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1923 - | | colspan="4" align="center" style="background:#ffdead" | - 1923 - | ||
| Line 107: | Line 107: | ||
|''Romeo and Juliet'' | |''Romeo and Juliet'' | ||
|''Romeu e Julieta'' | |''Romeu e Julieta'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|16 | |16 | ||
|''The Federal Capital'' | |''The Federal Capital'' | ||
|'' A Capital Federal'' | |'' A Capital Federal'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|17 | |17 | ||
|''Augusto Aníbal Wants to Get Married'' | |''Augusto Aníbal Wants to Get Married'' | ||
|''Augusto Aníbal Quer Casar'' | |''Augusto Aníbal Quer Casar'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1924 - | | colspan="4" align="center" style="background:#ffdead" | - 1924 - | ||
| Line 124: | Line 124: | ||
|''Blood Rose'' | |''Blood Rose'' | ||
|''Rosa Cor de Sangue'' | |''Rosa Cor de Sangue'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|19 | |19 | ||
|''The Revolution of 1924'' | |''The Revolution of 1924'' | ||
|''A Revolução de 1924'' | |''A Revolução de 1924'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
|20 | |20 | ||
| Line 141: | Line 141: | ||
|''The Scourge of Humanity'' | |''The Scourge of Humanity'' | ||
|''O Flagelo da Humanidade'' | |''O Flagelo da Humanidade'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|22 | |22 | ||
|''High Stones'' | |''High Stones'' | ||
|''Pedras Altas'' | |''Pedras Altas'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|23 | |23 | ||
|''Picturesque River'' | |''Picturesque River'' | ||
|''Rio Pitoresco'' | |''Rio Pitoresco'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1926 - | | colspan="4" align="center" style="background:#ffdead" | - 1926 - | ||
| Line 158: | Line 158: | ||
|''Depravity'' | |''Depravity'' | ||
|''Depravação'' | |''Depravação'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1927 - | | colspan="4" align="center" style="background:#ffdead" | - 1927 - | ||
| Line 165: | Line 165: | ||
|''The House of Santos Dumont'' | |''The House of Santos Dumont'' | ||
|''A Casa de Santos Dumont'' | |''A Casa de Santos Dumont'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|26 | |26 | ||
|''Poisons of Humanity'' | |''Poisons of Humanity'' | ||
|''Venenos da Humanidade'' | |''Venenos da Humanidade'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1928 - | | colspan="4" align="center" style="background:#ffdead" | - 1928 - | ||
| Line 177: | Line 177: | ||
|''Caesarean Operation'' | |''Caesarean Operation'' | ||
|''Operação Cesariana'' | |''Operação Cesariana'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
|28 | |28 | ||
|''Stomach Operation'' | |''Stomach Operation'' | ||
|''Operação do Estômago'' | |''Operação do Estômago'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|29 | |29 | ||
|''Horse Breeding'' | |''Horse Breeding'' | ||
|''Criação de Cavalos'' | |''Criação de Cavalos'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|30 | |30 | ||
|''Roads of Brazil'' | |''Roads of Brazil'' | ||
|''Estradas do Brasil'' | |''Estradas do Brasil'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|31 | |31 | ||
|''Picturesque of the Coast'' | |''Picturesque of the Coast'' | ||
|''Pitoresco da Costa'' | |''Pitoresco da Costa'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1929 - | | colspan="4" align="center" style="background:#ffdead" | - 1929 - | ||
| Line 204: | Line 204: | ||
|''The Juriti'' | |''The Juriti'' | ||
|''A Juriti'' | |''A Juriti'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|33 | |33 | ||
|''Caboclo's House'' | |''Caboclo's House'' | ||
|''Casa de Caboclo'' | |''Casa de Caboclo'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|34 | |34 | ||
| Line 219: | Line 219: | ||
|''Trouble on Olympus'' | |''Trouble on Olympus'' | ||
|''Uma Encrenca no Olimpo'' | |''Uma Encrenca no Olimpo'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|36 | |36 | ||
|''The clown'' | |''The clown'' | ||
|''O Palhaço'' | |''O Palhaço'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|37 | |37 | ||
|''Love Doesn't Bring Advantages'' | |''Love Doesn't Bring Advantages'' | ||
|''O Amor Não Traz Vantagens'' | |''O Amor Não Traz Vantagens'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|38 | |38 | ||
|''How Like It'' | |''How Like It'' | ||
|''Como Se Gosta '' | |''Como Se Gosta '' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|39 | |39 | ||
|''Baianinha'' | |''Baianinha'' | ||
|''Baianinha'' | |''Baianinha'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|40 | |40 | ||
|''Feijoada'' | |''Feijoada'' | ||
|''Feijoada'' | |''Feijoada'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|41 | |41 | ||
|''The Bem Te Vi'' | |''The Bem Te Vi'' | ||
|'' O Bem Te Vi'' | |'' O Bem Te Vi'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|42 | |42 | ||
|''Veraneio Cities'' | |''Veraneio Cities'' | ||
|'' Cidades de Veraneio'' | |'' Cidades de Veraneio'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|43 | |43 | ||
|''Selflessness of the Gentile'' | |''Selflessness of the Gentile'' | ||
|''Abnegação do Gentio'' | |''Abnegação do Gentio'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1930 - | | colspan="4" align="center" style="background:#ffdead" | - 1930 - | ||
| Line 266: | Line 266: | ||
|''Messalina'' | |''Messalina'' | ||
|''Messalina'' | |''Messalina'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|45 | |45 | ||
|''Honeymoon'' | |''Honeymoon'' | ||
|''Lua de Mel'' | |''Lua de Mel'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|46 | |46 | ||
|''My Wife Left Me'' | |''My Wife Left Me'' | ||
|''Minha Mulher Me Deixou'' | |''Minha Mulher Me Deixou'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|47 | |47 | ||
|''Climb the Closet'' | |''Climb the Closet'' | ||
|''Sobe o Armário'' | |''Sobe o Armário'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|48 | |48 | ||
|''Tom Bill had a fight with his Girlfriend'' | |''Tom Bill had a fight with his Girlfriend'' | ||
|''Tom Bill Brigou com a Namorada'' | |''Tom Bill Brigou com a Namorada'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|49 | |49 | ||
|''The Spittle'' | |''The Spittle'' | ||
|''O Babão'' | |''O Babão'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|50 | |50 | ||
|''Brazilian Songs'' | |''Brazilian Songs'' | ||
|''Canções Brasileiras'' | |''Canções Brasileiras'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|51 | |51 | ||
|''Irresistible Vocation'' | |''Irresistible Vocation'' | ||
|'' Vocação Irresistível'' | |'' Vocação Irresistível'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1931 - | | colspan="4" align="center" style="background:#ffdead" | - 1931 - | ||
| Line 308: | Line 308: | ||
|''Tango of Love'' | |''Tango of Love'' | ||
|''Tango do Amor'' | |''Tango do Amor'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|53 | |53 | ||
| Line 320: | Line 320: | ||
|''Wonderful Carioca'' | |''Wonderful Carioca'' | ||
|''Carioca Maravilhosa'' | |''Carioca Maravilhosa'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1936 - | | colspan="4" align="center" style="background:#ffdead" | - 1936 - | ||
| Line 327: | Line 327: | ||
|''The Young Great-Great-Grandfather'' | |''The Young Great-Great-Grandfather'' | ||
|''O Jovem Tataravô'' | |''O Jovem Tataravô'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1937 - | | colspan="4" align="center" style="background:#ffdead" | - 1937 - | ||
| Line 334: | Line 334: | ||
|''The Samba of Life'' | |''The Samba of Life'' | ||
|''O Samba da Vida'' | |''O Samba da Vida'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
|57 | |57 | ||
|''Slum'' | |''Slum'' | ||
|''Favela'' | |''Favela'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1938 - | | colspan="4" align="center" style="background:#ffdead" | - 1938 - | ||
| Line 346: | Line 346: | ||
|''Tererê Doesn't Solve'' | |''Tererê Doesn't Solve'' | ||
|''Tererê Não Resolve'' | |''Tererê Não Resolve'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
|59 | |59 | ||
|''Luxury Husband'' | |''Luxury Husband'' | ||
|''Maridinho de Luxo'' | |''Maridinho de Luxo'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1939 - | | colspan="4" align="center" style="background:#ffdead" | - 1939 - | ||
| Line 358: | Line 358: | ||
|''Hangar Caquot N.1'' | |''Hangar Caquot N.1'' | ||
|''Hangar Caquot N.1'' | |''Hangar Caquot N.1'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|61 | |61 | ||
|''Poet of the Hill'' | |''Poet of the Hill'' | ||
|''Poeta do Morro'' | |''Poeta do Morro'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|62 | |62 | ||
|''Aviation Medical Service'' | |''Aviation Medical Service'' | ||
|''Serviço Médico da Aviação'' | |''Serviço Médico da Aviação'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1940 - | | colspan="4" align="center" style="background:#ffdead" | - 1940 - | ||
| Line 375: | Line 375: | ||
|''White Swan'' | |''White Swan'' | ||
|''Cisne Branco'' | |''Cisne Branco'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|64 | |64 | ||
|''And the Circus Arrived'' | |''And the Circus Arrived'' | ||
|''E o Circo Chegou'' | |''E o Circo Chegou'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1941 - | | colspan="4" align="center" style="background:#ffdead" | - 1941 - | ||
| Line 387: | Line 387: | ||
|''The Seduction of Mining'' | |''The Seduction of Mining'' | ||
|''A Sedução do Garimpo'' | |''A Sedução do Garimpo'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
|66 | |66 | ||
| Line 399: | Line 399: | ||
|''Samba in Berlin'' | |''Samba in Berlin'' | ||
|''Samba em Berlim'' | |''Samba em Berlim'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1944 - | | colspan="4" align="center" style="background:#ffdead" | - 1944 - | ||
| Line 406: | Line 406: | ||
|''Berlin at Batucada'' | |''Berlin at Batucada'' | ||
|''Berlim na Batucada'' | |''Berlim na Batucada'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
|69 | |69 | ||
|''Hearts Without a Pilot'' | |''Hearts Without a Pilot'' | ||
|''Corações Sem Piloto'' | |''Corações Sem Piloto'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1945 - | | colspan="4" align="center" style="background:#ffdead" | - 1945 - | ||
| Line 418: | Line 418: | ||
|''Pif-Paf'' | |''Pif-Paf'' | ||
|''Pif-Paf'' | |''Pif-Paf'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
|71 | |71 | ||
|''The Tenement'' | |''The Tenement'' | ||
|''O Cortiço'' | |''O Cortiço'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1946 - | | colspan="4" align="center" style="background:#ffdead" | - 1946 - | ||
| Line 430: | Line 430: | ||
|''Fallen from the Sky'' | |''Fallen from the Sky'' | ||
|''Caídos do Céu'' | |''Caídos do Céu'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
|73 | |73 | ||
|''The Horse 13'' | |''The Horse 13'' | ||
|'' O Cavalo 13'' | |'' O Cavalo 13'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1947 - | | colspan="4" align="center" style="background:#ffdead" | - 1947 - | ||
| Line 442: | Line 442: | ||
|''Fire in Canjica'' | |''Fire in Canjica'' | ||
|''Fogo na Canjica'' | |''Fogo na Canjica'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
|75 | |75 | ||
|''The Trickster and Granfina'' | |''The Trickster and Granfina'' | ||
|''O Malandro e a Granfina'' | |''O Malandro e a Granfina'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1948 - | | colspan="4" align="center" style="background:#ffdead" | - 1948 - | ||
| Line 454: | Line 454: | ||
|''This is Fina!'' | |''This is Fina!'' | ||
|''Esta é Fina!'' | |''Esta é Fina!'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1949 - | | colspan="4" align="center" style="background:#ffdead" | - 1949 - | ||
| Line 461: | Line 461: | ||
|''I Want is Movement'' | |''I Want is Movement'' | ||
|'' Eu Quero é Movimento'' | |'' Eu Quero é Movimento'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|78 | |78 | ||
|''Beyond Good'' | |''Beyond Good'' | ||
|''Pra Lá de Boa'' | |''Pra Lá de Boa'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|79 | |79 | ||
|''Innocence'' | |''Innocence'' | ||
|''Inocência'' | |''Inocência'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1951 - | | colspan="4" align="center" style="background:#ffdead" | - 1951 - | ||
| Line 478: | Line 478: | ||
|''Hang in there, Izidoro!'' | |''Hang in there, Izidoro!'' | ||
|''Aguenta Firme, Izidoro!'' | |''Aguenta Firme, Izidoro!'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
|81 | |81 | ||
|''Lodo Angel'' | |''Lodo Angel'' | ||
|''Anjo do Lodo'' | |''Anjo do Lodo'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1952 - | | colspan="4" align="center" style="background:#ffdead" | - 1952 - | ||
| Line 495: | Line 495: | ||
|''The King of Samba'' | |''The King of Samba'' | ||
|'' O Rei do Samba'' | |'' O Rei do Samba'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1953 - | | colspan="4" align="center" style="background:#ffdead" | - 1953 - | ||
| Line 502: | Line 502: | ||
|''You Have Everything'' | |''You Have Everything'' | ||
|''Está com Tudo'' | |''Está com Tudo'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
|85 | |85 | ||
|''Is it for Marriage?'' | |''Is it for Marriage?'' | ||
|''É Pra Casar?'' | |''É Pra Casar?'' | ||
|Lost | |<span style="color:red;">'''Lost'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1954 - | | colspan="4" align="center" style="background:#ffdead" | - 1954 - | ||
| Line 514: | Line 514: | ||
|''Tricksters in the Fourth Dimension'' | |''Tricksters in the Fourth Dimension'' | ||
|''Malandros Em Quarta Dimensão'' | |''Malandros Em Quarta Dimensão'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1955 - | | colspan="4" align="center" style="background:#ffdead" | - 1955 - | ||
| Line 521: | Line 521: | ||
|''Worked well, Genival!'' | |''Worked well, Genival!'' | ||
|''Trabalhou Bem, Genival!'' | |''Trabalhou Bem, Genival!'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1956 - | | colspan="4" align="center" style="background:#ffdead" | - 1956 - | ||
| Line 528: | Line 528: | ||
|''Who knows... knows!'' | |''Who knows... knows!'' | ||
|''Quem Sabe... Sabe!'' | |''Quem Sabe... Sabe!'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
|89 | |89 | ||
|''The Business Was Like This'' | |''The Business Was Like This'' | ||
|'' O Négocio Foi Assim'' | |'' O Négocio Foi Assim'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1957 - | | colspan="4" align="center" style="background:#ffdead" | - 1957 - | ||
| Line 540: | Line 540: | ||
|''Samba in the Village'' | |''Samba in the Village'' | ||
|''Samba na Vila'' | |''Samba na Vila'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
|91 | |91 | ||
|''Everything is Music'' | |''Everything is Music'' | ||
|'' Tudo é Música'' | |'' Tudo é Música'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
|92 | |92 | ||
|''A Pirate from Another World'' | |''A Pirate from Another World'' | ||
|'' Um Pirata do Outro Mundo'' | |'' Um Pirata do Outro Mundo'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1958 - | | colspan="4" align="center" style="background:#ffdead" | - 1958 - | ||
| Line 557: | Line 557: | ||
|''Hands-on the pasta'' | |''Hands-on the pasta'' | ||
|''Com a Mão na Massa'' | |''Com a Mão na Massa'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1959 - | | colspan="4" align="center" style="background:#ffdead" | - 1959 - | ||
| Line 564: | Line 564: | ||
|''Here Come the Cadets'' | |''Here Come the Cadets'' | ||
|''Aí Vem os Cadetes'' | |''Aí Vem os Cadetes'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1961 - | | colspan="4" align="center" style="background:#ffdead" | - 1961 - | ||
| Line 571: | Line 571: | ||
|''For a Sky of Freedom'' | |''For a Sky of Freedom'' | ||
|''Por um Céu de Liberdade'' | |''Por um Céu de Liberdade'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1962 - | | colspan="4" align="center" style="background:#ffdead" | - 1962 - | ||
| Line 578: | Line 578: | ||
|''Tramps in Society'' | |''Tramps in Society'' | ||
|''Vagabundos no Society'' | |''Vagabundos no Society'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|- | |- | ||
| colspan="4" align="center" style="background:#ffdead" | - 1980 - | | colspan="4" align="center" style="background:#ffdead" | - 1980 - | ||
| Line 585: | Line 585: | ||
|''He, She, Who?'' | |''He, She, Who?'' | ||
|''Ele, Ela, Quem?'' | |''Ele, Ela, Quem?'' | ||
|Survives | |<span style="color:green;">'''Survives'''</span> | ||
|} | |} | ||
==Footage== | ==Footage== | ||
{{Video|perrow =3 | {{Video|perrow =3 | ||
Revision as of 23:24, 29 January 2024
Filmmaker Luiz de Barros.
Status: Partially Found
Luiz de Barros is a Brazilian filmmaker and theater director, he was the Brazilian who directed the most films, he directed more than 97 films between 1916 and 1980. He began his career studying law in Brazil and plastic arts in Europe.[1]
He directed the first Brazilian sound film, called Acabam-se os Otários. In his autobiography, Minhas Memórias de Cineasta, Luiz de Barros reveals that the idea of shooting the film, as well as its title, arose in a conversation with a businessman in the sector, to whom he said he would make a sound film. Without knowing the technique, he went to the Gaumont studios and saw how the cameras recorded the actors' performance while a gramophone reproduced the sound recorded in advance: it was play-back.[2]
Using this technique, Barros recorded the dialogues on discs, which were played in cinemas by technician Moacyr Fenelon.
Status
Of the more than 97 Barros films created (and documented), only 34 exist today. Most of Barros' films that exist have been restored by Cinédia.[3]
List of Films
| Number | English title(s) | Portuguese title | Status |
|---|---|---|---|
| - 1916 - | |||
| 1 | The Widow | A Viuvinha | Lost |
| 2 | Lost | Perdida | Lost |
| 3 | Dead or Alive | Vivo ou Morto | Lost |
| - 1918 - | |||
| 4 | 013 | 013 | Lost |
| 5 | The Debacle | A Derrocada | Lost |
| - 1919 - | |||
| 6 | Country Soul | Alma Sertaneja | Lost |
| 7 | Ubirajara | Ubirajara | Lost |
| - 1920 - | |||
| 8 | Heart of Gaucho | Coração de Gaúcho | Lost |
| 9 | The Cursed Jewel | A Joia Maldita | Lost |
| 10 | Adventures of Gregory | Aventuras de Gregório | Lost |
| - 1922 - | |||
| 11 | The Black Knight | O Cavaleiro Negro | Lost |
| 12 | The Brazilian Army | O Exército Brasileiro | Lost |
| 13 | The Rio Grande do Sul | O Rio Grande do Sul | Lost |
| 14 | Sacadura Cabral and Gago Coutinho in Rio de Janeiro | Sacadura Cabral e Gago Coutinho no Rio de Janeiro | Lost |
| - 1923 - | |||
| 15 | Romeo and Juliet | Romeu e Julieta | Lost |
| 16 | The Federal Capital | A Capital Federal | Lost |
| 17 | Augusto Aníbal Wants to Get Married | Augusto Aníbal Quer Casar | Lost |
| - 1924 - | |||
| 18 | Blood Rose | Rosa Cor de Sangue | Lost |
| 19 | The Revolution of 1924 | A Revolução de 1924 | Survives |
| 20 | I'm Going to Win | Hei de Vencer | Fragment? |
| - 1925 - | |||
| 21 | The Scourge of Humanity | O Flagelo da Humanidade | Lost |
| 22 | High Stones | Pedras Altas | Lost |
| 23 | Picturesque River | Rio Pitoresco | Lost |
| - 1926 - | |||
| 24 | Depravity | Depravação | Lost |
| - 1927 - | |||
| 25 | The House of Santos Dumont | A Casa de Santos Dumont | Lost |
| 26 | Poisons of Humanity | Venenos da Humanidade | Lost |
| - 1928 - | |||
| 27 | Caesarean Operation | Operação Cesariana | Survives |
| 28 | Stomach Operation | Operação do Estômago | Lost |
| 29 | Horse Breeding | Criação de Cavalos | Lost |
| 30 | Roads of Brazil | Estradas do Brasil | Lost |
| 31 | Picturesque of the Coast | Pitoresco da Costa | Lost |
| - 1929 - | |||
| 32 | The Juriti | A Juriti | Lost |
| 33 | Caboclo's House | Casa de Caboclo | Lost |
| 34 | No More Idiots | Acabaram-se os Otários | Fragment |
| 35 | Trouble on Olympus | Uma Encrenca no Olimpo | Lost |
| 36 | The clown | O Palhaço | Lost |
| 37 | Love Doesn't Bring Advantages | O Amor Não Traz Vantagens | Lost |
| 38 | How Like It | Como Se Gosta | Lost |
| 39 | Baianinha | Baianinha | Lost |
| 40 | Feijoada | Feijoada | Lost |
| 41 | The Bem Te Vi | O Bem Te Vi | Lost |
| 42 | Veraneio Cities | Cidades de Veraneio | Lost |
| 43 | Selflessness of the Gentile | Abnegação do Gentio | Lost |
| - 1930 - | |||
| 44 | Messalina | Messalina | Lost |
| 45 | Honeymoon | Lua de Mel | Lost |
| 46 | My Wife Left Me | Minha Mulher Me Deixou | Lost |
| 47 | Climb the Closet | Sobe o Armário | Lost |
| 48 | Tom Bill had a fight with his Girlfriend | Tom Bill Brigou com a Namorada | Lost |
| 49 | The Spittle | O Babão | Lost |
| 50 | Brazilian Songs | Canções Brasileiras | Lost |
| 51 | Irresistible Vocation | Vocação Irresistível | Lost |
| - 1931 - | |||
| 52 | Tango of Love | Tango do Amor | Lost |
| 53 | Reveille of Glory | Alvorada da Glória | Fragment |
| - 1935 - | |||
| 54 | Wonderful Carioca | Carioca Maravilhosa | Survives |
| - 1936 - | |||
| 55 | The Young Great-Great-Grandfather | O Jovem Tataravô | Survives |
| - 1937 - | |||
| 56 | The Samba of Life | O Samba da Vida | Survives |
| 57 | Slum | Favela | Lost |
| - 1938 - | |||
| 58 | Tererê Doesn't Solve | Tererê Não Resolve | Survives |
| 59 | Luxury Husband | Maridinho de Luxo | Survives |
| - 1939 - | |||
| 60 | Hangar Caquot N.1 | Hangar Caquot N.1 | Lost |
| 61 | Poet of the Hill | Poeta do Morro | Lost |
| 62 | Aviation Medical Service | Serviço Médico da Aviação | Lost |
| - 1940 - | |||
| 63 | White Swan | Cisne Branco | Lost |
| 64 | And the Circus Arrived | E o Circo Chegou | Survives |
| - 1941 - | |||
| 65 | The Seduction of Mining | A Sedução do Garimpo | Survives |
| 66 | Enter the Party | Entra na Farra | Fragment |
| - 1943 - | |||
| 67 | Samba in Berlin | Samba em Berlim | Survives |
| - 1944 - | |||
| 68 | Berlin at Batucada | Berlim na Batucada | Survives |
| 69 | Hearts Without a Pilot | Corações Sem Piloto | Survives |
| - 1945 - | |||
| 70 | Pif-Paf | Pif-Paf | Survives |
| 71 | The Tenement | O Cortiço | Survives |
| - 1946 - | |||
| 72 | Fallen from the Sky | Caídos do Céu | Survives |
| 73 | The Horse 13 | O Cavalo 13 | Survives |
| - 1947 - | |||
| 74 | Fire in Canjica | Fogo na Canjica | Survives |
| 75 | The Trickster and Granfina | O Malandro e a Granfina | Survives |
| - 1948 - | |||
| 76 | This is Fina! | Esta é Fina! | Lost |
| - 1949 - | |||
| 77 | I Want is Movement | Eu Quero é Movimento | Lost |
| 78 | Beyond Good | Pra Lá de Boa | Lost |
| 79 | Innocence | Inocência | Survives |
| - 1951 - | |||
| 80 | Hang in there, Izidoro! | Aguenta Firme, Izidoro! | Lost |
| 81 | Lodo Angel | Anjo do Lodo | Survives |
| - 1952 - | |||
| 82 | Once Upon a Tramp | Era Uma Vez Um Vagabundo | Fragment |
| 83 | The King of Samba | O Rei do Samba | Survives |
| - 1953 - | |||
| 84 | You Have Everything | Está com Tudo | Survives |
| 85 | Is it for Marriage? | É Pra Casar? | Lost |
| - 1954 - | |||
| 86 | Tricksters in the Fourth Dimension | Malandros Em Quarta Dimensão | Survives |
| - 1955 - | |||
| 87 | Worked well, Genival! | Trabalhou Bem, Genival! | Survives |
| - 1956 - | |||
| 88 | Who knows... knows! | Quem Sabe... Sabe! | Survives |
| 89 | The Business Was Like This | O Négocio Foi Assim | Survives |
| - 1957 - | |||
| 90 | Samba in the Village | Samba na Vila | Survives |
| 91 | Everything is Music | Tudo é Música | Survives |
| 92 | A Pirate from Another World | Um Pirata do Outro Mundo | Survives |
| - 1958 - | |||
| 93 | Hands-on the pasta | Com a Mão na Massa | Survives |
| - 1959 - | |||
| 94 | Here Come the Cadets | Aí Vem os Cadetes | Survives |
| - 1961 - | |||
| 95 | For a Sky of Freedom | Por um Céu de Liberdade | Survives |
| - 1962 - | |||
| 96 | Tramps in Society | Vagabundos no Society | Survives |
| - 1980 - | |||
| 97 | He, She, Who? | Ele, Ela, Quem? | Survives |