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CIRCUITOMATOGROSSO
CUIABÁ, 28 DE MARÇO A 3 DE ABRIL DE 2013
CULTURA EM CIRCUITO
PG 5
Anna é doutora em
História, etnógrafa e filatelista.
TERRA BRASILIS
Por Anna Maria Ribeiro Costa
HUMANIDADES BASAIANAS
ARGO
THINK AND TALK
Por Laura Santiago
Laura é diretora da Yes!Cuiabá
e apaixonada pelo Mickey Mouse ...”
Argo
is a 2012 American dramatic thriller
film directed by Ben Affleck. This dramatization is
adapted from the book
The Master of Disguise
by CIA operative Tony Mendez, and Joshuah
Berman’s 2007
Wired
article “The Great
Escape” about the “Canadian Caper”, in which
Mendez led the rescue of six U.S. diplomats from
Tehran, Iran, during the 1979 Iran hostage crisis.
The film stars Affleck as Mendez with Bryan
Cranston, Alan Arkin, and John Goodman, and
was released in North America to critical and
commercial success on October 12, 2012. The
film was produced by Grant Heslov, Ben Affleck,
and George Clooney. The story of this rescue
was also told in the 1981 television movie
Escape from Iran: The Canadian Caper
,
directed by Lamont Johnson.
Argo
received
seven nominations for the 85th Academy Awards
and won three, for Best Film Editing, Best
Adapted Screenplay, and Best Picture, the first
time since 1989’s
Driving Miss Daisy
where the
Best Picture winner was not nominated for Best
Director. The film also earned five Golden Globe
nominations, winning Best Picture – Drama and
Best Director, while being nominated for Best
Supporting Actor for Arkin. It won the award for
the Outstanding Performance by a Cast in a
Motion Picture at the 19th Screen Actors Guild
Awards with Alan Arkin being nominated for
Outstanding Performance by a Male Actor in a
Supporting Role. It also won Best Film, Best
Editing, and Best Director (for Affleck) at the 66th
British Academy Film Awards.Militants storm the
United States embassy in Tehran on November
4, 1979, in retaliation for CIA involvements in
Iran. More than 50 of the embassy staff are
taken as hostages, but six escape and hide in the
home of the Canadian ambassador Ken Taylor
(Victor Garber). With the escapees’ situation kept
secret, the US State Department begins to
explore options for “exfiltrating” them from Iran.
Tony Mendez (Ben Affleck), a CIA exfiltration
specialist brought in for consultation, criticizes the
proposals. He too is at a loss for an alternative
until, inspired by watching
Battle for the Planet of
the Apes
on the phone with his son, he plans to
create a cover story that the escapees are
Canadian filmmakers, scouting “exotic” locations
in Iran for a similar science-fiction film.Mendez
and his supervisor Jack O’Donnell (Bryan
Cranston) contact John Chambers (John
Goodman), a Hollywood make-up artist who
has previously crafted disguises for the CIA.
Chambers puts them in touch with film producer
Lester Siegel (Alan Arkin). Together they set up a
phony film studio, publicize their plans, and
successfully establish the pretense of developing
Argo
, a “science fantasy” in the style of
Star
Wars
, to lend credibility to the cover story.
Meanwhile, the escapees grow frantic inside the
ambassador’s residence. The revolutionaries
reassemble embassy papers shredded before
the takeover and learn that some personnel have
escaped.Posing as a producer for
Argo
, Mendez
enters Iran and links up with the six escapees. He
provides them with Canadian passports and
fake identities to prepare them to get through
security at the airport. Although afraid to trust
Mendez’s scheme, they reluctantly go along with
it, knowing that he is risking his own life too. A
“scouting” visit to the bazaar to maintain their
cover story takes a bad turn, but their Iranian
culture contact gets them away from the hostile
crowd.Mendez is told that the operation has
been cancelled to avoid conflicting with a
planned military rescue of the hostages.
He pushes ahead, forcing O’Donnell to
hastily re-obtain authorization for the mission to
get tickets on a Swissair flight. Tension rises at
the airport, where the escapees’ flight
reservations are confirmed at the last minute,
and a guard’s call to the supposed studio in
Hollywood is answered at the last second. The
group boards the plane just as the Iranian
guards uncover the ruse and try to stop their
plane from getting off the runway, but they are
too late, as Mendez and the six successfully
leave Iran.To protect the hostages remaining in
Tehran from retaliation, all US involvement in
the rescue is suppressed, giving full credit to the
Canadian government and its ambassador
(who left Iran with his wife under their own
credentials as the operation was underway; their
Iranian housekeeper, who had known about the
Americans and lied to the revolutionaries to
protect them, escaped to Iraq). Mendez is
awarded the Intelligence Star, but due to the
classified nature of the mission, he would not be
able to keep the medal until the details were
made public in 1997. All the hostages were
freed on January 20, 1981. The film ends with
President Carter’s speech about the Crisis and
the Canadian Caper.
A diversidade temática de Vitória
Basaia, carioca que chegou em terras
mato-grossenses nos idos de 1980, pode
ser sentida nos olhares de caras brasileiras,
miscigenadas, perplexas, assustadas,
irreverentes, apaixonadas, sofridas,
indiferentes, excluídas em tantas raças.
Raças? E hoje no Brasil se pode falar em
raças?
O antropólogo Darcy Ribeiro, que
trouxe para seus escritos as cores da
formação e do sentido do Brasil, escreveu
que somos um
povo novo, inclusive, pela
inverossímil alegria e espantosa vontade de
felicidade, num povo tão sacrificado que
alenta e comove a todos os brasileiros
.
Uma das raras artistas
brut
brasileiras,
Vitória Basaia mostra que esse mesmo povo
pode ser encontrado nas combinações
ousadas de materiais que reproduzem as
cores desta terra. Nas caras basaianas nos
achamos. E qualquer brasileiro se percebe
porque não há espaços privados em sua
obra. Também não há espaços privados na
sua produção para os espectadores – que
talvez não saibam, são sujeitos
transformadores de sua obra – que querem
conhecer suas telas. Isso porque sua
interferência urbana leva sua arte às ruas, a
todos os olhares atentos.
Caras mil vivem juntas, entremeadas,
conflituosas, cada qual ao seu modo. Entre
as gentes de matizes distintas, mestiças e
tropicais, está o índio, que na composição
artística de Vitória é concebido entre todos,
lado a lado, entre os demais brasileiros. Ele
é concebido utopicamente como igual aos
demais.
O imenso talento do mineiro e da
carioca ecoa em uma voz uníssona. Um da
caneta; outra do pincel. De maneiras
ímpares, demonstram que o brasileiro se faz
sofrido, constrangido e amalgamado ao
longo de cinco séculos. No percurso
quilométrico da caneta e do pincel
escrevem possibilidades de uma nova
civilização que, por incorporar mais
humanidades, deve se tornar melhor
porque aberta à convivência.
