We see so much magic within this documentary through the breathy voice of Elis and Tom’s fingers dancing across the guitar, yet it’s grueling underbelly begins to unfold...
This documentary will be screened on Wednesday, September 11th at Melkweg, Amsterdam. Tickets here!
Whilst watching Roberto de Oliveira’s film Elis & Tom, I found it quite difficult to decide what angle to take within the review. I was trying to capture a particular narrative between these two incredibly talented performers but I came to realise, that is impossible. There was no single narrative, Elis Regina and Antônio Carlos Jobim were immensely complex characters with a relationship that swung like the hips of a Bossa Nova dancer.
The film begins with:
In 1974 , composer Tom Jobim, one of the founding fathers of Bossa Nova and Brazil‘s most popular singers at the time Elis Regina got together to record an album in Los Angeles. Nobody could imagine this unlikely meeting filled with conflict, emotion and beauty, would be such a pivotal moment in Brazilian music history. The images of this recording, filmed at the time in 16 mm and now restored in 4K are remembered here almost 50 years later.
The grade of the footage in the recording studio gives us sweet 1970’s nostalgia - delightful and divine, dreamy deep stares between characters and the music, it’s truly making me float as I watch. NY Times' Jon Pareles reminisces “...diamond floating in the beauty of the brightest space. It’s crystal and it’s perfect. Every breath on that album. Every little tickling note is in the right place.” With colleagues, admirers and members of the band devoting their love and respect for their album and storytelling, the introduction of this documentary sends me purely flabbergasted at why this footage hadn’t been released sooner. Somehow the magic went missing for 50 years and finally it has been unveiled in this film.
We see so much magic within this documentary through the breathy voice of Elis and Tom’s fingers dancing across the guitar, yet it’s gruelling underbelly begins to unfold “Just like Kubrick’s Napoleon the greatest movie never made it almost became history’s greatest record never made” Composer, João Marcelo Boscoli quips. These were two of Brazilian music’s biggest imports and then to combine them as a duo, what could go wrong?
The film is divided just like Elis & Tom’s relationship, we start with Tom’s history before the two connected. Antônio Carlos Jobim (Tom) referred to “as a casual genius” and one of the “greatest musicians in the history of the world, not just Brazil but everywhere” Jon Parales coos. He was considered a titan amongst so many notable people. Even Frank Sinatra decided to work with him, because his craftsmanship as a songwriter was so impeccable. His Bossa Nova style was smooth, minimalistic, it was about the spaces in between, Toms daughter reflects “He had a quote which I love. He said he used more eraser than pencil.” .
Elis was nothing like Tom, she was a bull at a gate in her performances and her international career skyrocketed immediately; performing on TV spots across France, Italy and Sweden making her way across European living rooms between 1968 and 1972. Roberto de Oliveira regales us with “The expectation of her to have an international career was huge. It was demanded of her. Everyone knew she could be one of the top five singers in the world. If she tried she was perfect across the board.”
The third section of the film brings us to their initial encounter. Elis was searching for the right person to collaborate with, like suitors, many would approach this vocal queen but none would make the cut until director, Roberto de Oliveira introduced her to Tom. She loved someone who could perform and Tom was the “personification of Bossa Nova” but their styles were vastly different. Tom emanated a refined delicate style whereas Elis was loud and vivacious, political and flashy, she would never be seen sitting still by the guitarist. We see Elis outrightly say referring to Tom “ Even if I didn’t like him, I would have to admit he is a wonderful person”.
The initial plan was to make an album with Elis that featured Tom, accentuation on the word featured “it’s impossible to record with Tom and not have him completely take over” Guitarist, Hélio Delmiro reflects. He had a domineering nature in the recording studio affecting everyone around him. To the point that people gave into his demands and slowly within the surrendering of the musicians around him, Tom finally began to trust their musical judgements. Recording studio footage is intimate, stressful and stunning all at the same time - to see these masters in process with no smoke and mirrors is particularly touching. Elis would throw sarcastic comments across the piano, Tom would cut through with calm yet intimidating questions to pianist Cesar Camargo, Elis shares with colleagues at a party “Do you know what he told Cesar? "You don’t know American nomenclature? You have no experience to compose, you’re a 27-year-old kid. We need a grown man"”.
These seething comments and yet mystifying musical connections somehow created one of the most notable albums in Brazilian music history. There is tension and release in the recording studio between the artists and yet we all know that within some of the greatest songs ever made, that is the key to memorable music. One of the last quotes of the film by Roberto Menescal (Polygram Studios Artistic Director) who sat in these sessions which crumbled and then rebuilt themselves reflects “An artist’s strength is in their complexity. If an artist is not complex, then they’re not a real artist’’. Elis’ and Tom’s musical relationship improved: Elis in slowing down through Tom’s minimalistic nature and she ignited Tom’s skills in exploring more feverish highs in instrumental experimentation. It lifted them both into musical perfection.
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