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Rio de Janeiro - beautiful city, beautiful people and beaches. | 0:00:03 | 0:00:08 | |
MUSIC: "The Girl From Ipanema" | 0:00:09 | 0:00:14 | |
The city where a poet and a composer sitting in a cafe | 0:00:14 | 0:00:18 | |
admired a gorgeous girl and wrote The Girl From Ipanema. | 0:00:18 | 0:00:23 | |
If anything fulfils all our fantasies and stereotypes about Brazil, | 0:00:26 | 0:00:33 | |
it's Rio and its citizens - the Cariocas. | 0:00:33 | 0:00:37 | |
In this programme - soap stars and cinema stars in Brazil's artistic capital, | 0:00:37 | 0:00:44 | |
catwalk fashion from gun-law ghettos, | 0:00:44 | 0:00:47 | |
the baroque art of Minas Gerais, funded by the biggest gold rush the world has ever seen, | 0:00:47 | 0:00:53 | |
and the humble maid who becomes... the belle of the ball. | 0:00:53 | 0:00:57 | |
Rio de Janeiro, it is often said, is a city of contrasts. | 0:01:30 | 0:01:34 | |
In particular, there's a huge gap between the rich and the poor. | 0:01:34 | 0:01:39 | |
Because of this, the rich and the middle class | 0:01:39 | 0:01:44 | |
can nearly always afford to have domestic servants - maids. | 0:01:44 | 0:01:49 | |
Maids is the title of the film by Fernando Meirelles, probably Brazil's leading film-maker. | 0:01:51 | 0:01:59 | |
MEIRELLES: | 0:02:24 | 0:02:27 | |
There are at least three million maids in Brazil. | 0:02:45 | 0:02:49 | |
I wanted to get to know a real one, to see if her life matched Meirelles' vision. | 0:02:49 | 0:02:55 | |
I'm in Copacabana. It's not just a beach. | 0:02:55 | 0:02:58 | |
It's the most densely-populated part of Rio, where rich and middle class people live. | 0:02:58 | 0:03:04 | |
But looking around, most of the people you see are actually poor - | 0:03:04 | 0:03:08 | |
the workers, the janitors and the maids. | 0:03:08 | 0:03:11 | |
KNOCK ON DOOR | 0:03:11 | 0:03:14 | |
DOGS BARK | 0:03:14 | 0:03:17 | |
-Hello! -BARKING DROWNS OUT SPEECH | 0:03:17 | 0:03:20 | |
Teresa is a good employer to Carla, but the set-up still made me feel uneasy. | 0:03:51 | 0:03:58 | |
THEY SPEAK PORTUGUESE | 0:04:32 | 0:04:35 | |
CARLA: | 0:04:38 | 0:04:41 | |
Meirelles's film satirises those | 0:04:56 | 0:04:59 | |
who seem incapable of looking after themselves without a maid. | 0:04:59 | 0:05:03 | |
Meirelles is interested in social exclusion and the tension that it causes. | 0:05:54 | 0:06:00 | |
The maid is one of the only human links between the world of the poor and the world of the rich. | 0:06:00 | 0:06:07 | |
By day, she may be a humble maid. | 0:06:43 | 0:06:46 | |
LATIN MUSIC PLAYS AND MEN SING | 0:06:46 | 0:06:50 | |
But, by night, Carla is a carnival queen. | 0:06:50 | 0:06:55 | |
She's an important member of her local samba school - Villa Isabelle - | 0:06:55 | 0:07:00 | |
which works all year preparing for the big carnival parade. | 0:07:00 | 0:07:05 | |
Carla the flag-bearer - the star of the show. | 0:07:05 | 0:07:08 | |
MUSIC AND SINGING CONTINUES | 0:07:27 | 0:07:31 | |
Being flag-bearer is an important role. | 0:07:53 | 0:07:56 | |
Carla is the symbolic leader of nearly 4,000 people taking part in Villa Isabelle's annual parade. | 0:07:56 | 0:08:03 | |
It's a community responsibility, too. Not just on carnival day. | 0:08:05 | 0:08:09 | |
Main rehearsals are watched by scores of fee-paying spectators | 0:08:09 | 0:08:13 | |
who come for dinner, a show and a good night out. | 0:08:13 | 0:08:17 | |
But the thing that's the most important is the flag. | 0:08:17 | 0:08:21 | |
The carnival is actually a competition between dozens of samba schools. | 0:08:43 | 0:08:48 | |
Villa Isabelle will try and win by putting on the best show - | 0:08:48 | 0:08:53 | |
music, dancing, costumes, everything! | 0:08:53 | 0:08:57 | |
Rio is a great place to shop. | 0:09:27 | 0:09:30 | |
To suit all budgets. | 0:09:30 | 0:09:33 | |
Barra is full of shops with exclusive designer labels. | 0:09:33 | 0:09:38 | |
This is M. Officer, and they've a range of clothes made by a local label, Coopa Roca, | 0:09:38 | 0:09:44 | |
fruit of the complicated Carioca relationship between rich and poor. | 0:09:44 | 0:09:49 | |
Coopa Roca clothes are very distinctive. | 0:10:07 | 0:10:10 | |
They're all handmade using traditional techniques from Brazil's north-east. | 0:10:10 | 0:10:17 | |
No-one posh will come here. I'm in a favela, a shantytown. | 0:10:48 | 0:10:52 | |
This one is Rocinha. It's one of the largest in South America, | 0:10:52 | 0:10:56 | |
but up the hill, it has a very fashionable secret. | 0:10:56 | 0:11:00 | |
For those expensive Coopa Roca clothes were made in this favela by a cooperative of 70 housewives. | 0:11:00 | 0:11:06 | |
They may not earn much, but it's a better life than being a maid. | 0:11:06 | 0:11:11 | |
Coopa Roca has forged an alliance with one of Brazil's biggest fashion designers - Carlos Miele. | 0:11:28 | 0:11:34 | |
Rocinha may have come up in the world, | 0:12:00 | 0:12:04 | |
but still, it's controlled by armed drugs gangs. Policeman rarely enter for fear of their lives. | 0:12:04 | 0:12:10 | |
Because of Carlos Miele's publicity and marketing expertise, | 0:12:33 | 0:12:39 | |
Coopa Roca's clothes are seen on fashion catwalks all over Brazil AND internationally. | 0:12:39 | 0:12:45 | |
But rich women love the cachet of these exclusive clothes that come from the ghetto. | 0:13:30 | 0:13:36 | |
When most people think of Rio, they think of the beach - beautiful bodies, dental floss bikinis. | 0:14:07 | 0:14:14 | |
Well, it's all true. But when Cariocas talk about the beach, | 0:14:14 | 0:14:18 | |
they say it's fundamental to the spirit of the city. What do they mean? | 0:14:18 | 0:14:24 | |
LATIN GUITAR MUSIC PLAYS MAN BEGINS TO SING | 0:14:24 | 0:14:29 | |
Pedro Luis is a singer | 0:14:31 | 0:14:33 | |
who has used Rio's unique beach culture to inspire his music. | 0:14:33 | 0:14:39 | |
MUSIC AND SINGING CONTINUES | 0:14:39 | 0:14:42 | |
VARIOUS MEN SHOUT | 0:15:01 | 0:15:05 | |
Everywhere on Rio's beaches, there are beach vendors. | 0:15:07 | 0:15:11 | |
They sell food, clothes, everything. | 0:15:11 | 0:15:14 | |
And it is their musical calls that form the inspiration for one of Pedro Luis's hit songs. | 0:15:14 | 0:15:20 | |
Because Rio's weather is so good, the beach is where you socialise. | 0:16:20 | 0:16:25 | |
Pedro Luis says this shapes the typical Carioca character. | 0:16:25 | 0:16:30 | |
I'm surrounded by a bunch of preening show-offs. They take that as a compliment. | 0:17:01 | 0:17:07 | |
It's the only place I've been that to be vain is good. | 0:17:07 | 0:17:11 | |
Vanity's not about selfishness, but about fulfilling your social obligation to be beautiful. | 0:17:11 | 0:17:17 | |
Brazilians like to show that their mixture of races has created | 0:17:17 | 0:17:23 | |
the most beautiful race in the world. Not just here - everywhere, all the time. | 0:17:23 | 0:17:28 | |
For 200 years, Rio was Brazil's capital city. | 0:17:33 | 0:17:37 | |
It took over this role from Salvador in 1763. | 0:17:37 | 0:17:42 | |
To understand why, I'm going inland to the state of Minas Gerais. | 0:17:42 | 0:17:47 | |
Minas is a beautiful land of rolling hills. | 0:17:50 | 0:17:53 | |
They were once very wealthy because of two things - gold and sugar. | 0:17:53 | 0:17:58 | |
DRUMMING AND SINGING | 0:18:01 | 0:18:05 | |
Mineiros are known for their quiet self-reliance. | 0:18:05 | 0:18:09 | |
And the movement that eventually resulted in Brazil's independence from Portugal began here in Minas. | 0:18:09 | 0:18:16 | |
Both miners and sugar growers, copying American revolutionaries, refused to pay huge taxes. | 0:18:28 | 0:18:34 | |
And they stopped drinking fancy European drinks, and drank cachaca, distilled locally from sugar cane. | 0:18:34 | 0:18:41 | |
But what made Minas rich was the discovery of gold. | 0:19:08 | 0:19:11 | |
The gold rush in Minas was one of the biggest in the world, | 0:19:13 | 0:19:17 | |
and Rio de Janeiro first grew to importance as the port | 0:19:17 | 0:19:22 | |
exporting Minas's mineral wealth. | 0:19:22 | 0:19:25 | |
This is the charming city of Ouro Preto. The names are really Wild West. | 0:19:47 | 0:19:53 | |
Ouro Preto means "black gold", and it's in the state of Minas Gerais - "general mines". | 0:19:53 | 0:19:59 | |
All over Minas Gerais, the most sumptuous churches were built, funded by the gold rush. | 0:19:59 | 0:20:06 | |
This is the Church of Pilar. | 0:20:07 | 0:20:09 | |
But then, after 50 years, the gold ran out, | 0:21:06 | 0:21:10 | |
and a new style of decoration had to be developed. | 0:21:10 | 0:21:14 | |
This gave rise to Brazil's greatest ever sculptor - Aleijadinho. | 0:21:14 | 0:21:19 | |
-OUT OF BREATH: -There may be loads of beautiful churches here, | 0:21:19 | 0:21:23 | |
but they're all up bloody steep slopes! | 0:21:23 | 0:21:28 | |
CHOIR SINGS | 0:21:28 | 0:21:31 | |
With this new style, proportion is important - | 0:22:12 | 0:22:15 | |
the spaces between the sculptures as much as the actual sculptures. | 0:22:15 | 0:22:20 | |
I wanted to find out more about Aleijadinho. | 0:22:44 | 0:22:47 | |
For a start, his name means "little cripple". | 0:22:47 | 0:22:51 | |
He was incredibly disabled by leprosy. He was also self-taught. | 0:22:51 | 0:22:55 | |
I went to Congonhas, to visit a modern-day sculptor. | 0:22:55 | 0:22:59 | |
Luciomar has worked out how Aleijadinho must have worked | 0:23:09 | 0:23:13 | |
to compensate for the gradual loss of his fingers through leprosy. | 0:23:13 | 0:23:17 | |
Yet Aleijadinho's work changed the course of Brazilian baroque. | 0:23:17 | 0:23:21 | |
And his Last Supper shows how individual detail transforms its emotional impact. | 0:23:21 | 0:23:27 | |
LUCIOMAR: | 0:23:34 | 0:23:37 | |
Back in Rio, the sun doesn't always shine. | 0:24:00 | 0:24:04 | |
And when it rains, you can always watch TV. | 0:24:04 | 0:24:08 | |
Everyone in Brazil watches Globo, the main channel. | 0:24:08 | 0:24:12 | |
In fact, Globo is one of the world's big players in TV. | 0:24:12 | 0:24:17 | |
This is A Taste Of Passion - Sabor da Paixao. | 0:24:19 | 0:24:24 | |
It's one of TV Globo's four daily soap operas. | 0:24:24 | 0:24:27 | |
It started a few weeks ago, but it's bound to have a HUGE impact. | 0:24:27 | 0:24:32 | |
What's interesting about it is that it's set in Lapa, a newly-trendy district of Rio. | 0:24:32 | 0:24:38 | |
And they've built a replica here of the area in the TV studio. | 0:24:38 | 0:24:44 | |
I've come to meet Pedro Rangel, one of the stars of the new production. | 0:24:44 | 0:24:50 | |
THEIR VOICES ARE INDISTINCT | 0:25:11 | 0:25:14 | |
Pedro has a great advantage in playing this character - | 0:25:14 | 0:25:19 | |
he was born and brought up in the REAL Lapa. | 0:25:19 | 0:25:23 | |
NEW SPEAKER: | 0:25:45 | 0:25:48 | |
Because of the rain, Pedro Rangel's filming was cancelled the next day. | 0:26:12 | 0:26:18 | |
So he agreed to show me around Lapa and how it was changing. | 0:26:18 | 0:26:22 | |
'Amongst these people grew up a character type that Rio is now famous for - the malandro.' | 0:27:27 | 0:27:33 | |
Lapa is coming alive again now, | 0:28:01 | 0:28:04 | |
helped on by the interest in Globo's soap opera. | 0:28:04 | 0:28:08 | |
Even the old dance halls, where malandros hung out, are being revived. | 0:28:08 | 0:28:13 | |
And the traditional malandro music - choro - is back in vogue. | 0:28:13 | 0:28:18 | |
In the next programme, I'll be exploring the Amazon rainforest, | 0:28:29 | 0:28:34 | |
discovering the opera house there | 0:28:34 | 0:28:37 | |
with an orchestra of Eastern Europeans. | 0:28:37 | 0:28:41 | |
And investigating the craze for eighties' house music | 0:28:41 | 0:28:45 | |
amongst indigenous tribes. | 0:28:45 | 0:28:47 |