Abstract
Sergio Ricardo (1932-2020) played an important role in Brazilian Cinema Novo as composer of the score of films like Deus e Diabo na Terra do Sol (1964). Less famous are the movies directed by Sergio Ricardo, such as Juliana do Amor Perdido (1970) and A Noite do Espantalho (1974), for which he also composed the soundtrack. As a musician and filmmaker, Sergio Ricardo was involved in the 1960’s with CPC (Center of Popular Culture) and its Project of a revolutionary popular art. This paper aims to analyze the political dimension and stylized manufacturing of the songs in Sergio Ricardo’s films. During the analysis, we explored the relationship between the theme of the plot and the music, when we observed the narrative role of the songs: diegetic in A Noite do Espantalho, and non-diegetic in the scenes of Esse Mundo e Meu and Juliana do Amor Perdido, the latter being the subject of our most extensive analysis. We consider that the music in Sergio Ricardo's movies is characterized by political objectivity and stylization of regionalist aspects, whether it is urban samba, the “caicara” music of the Sao Paulo coast or the musical sounds of Northeastern backlands in the latter, all integrally mixed to the narrative function.
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