Fernando Trueba and Javier Mariscal have embarked on a challenging task in their latest film, “They Shot the Piano Player.” The film manages to celebrate the enchanting charm of bossa nova while delving into the horrors of state terrorism. It is a testament to their talent as filmmakers that they are able to navigate these contrasting themes successfully.
“They Shot the Piano Player” revolves around a ghostly figure named Francisco Tenório Júnior, a prominent figure in the Brazilian music scene of the 1960s and ’70s who mysteriously disappeared while on tour in Buenos Aires in 1976. The film explores the puzzle of how this gentle and politically neutral keyboard virtuoso became one of Argentina’s desaparecidos, a term used to describe the victims of the oppressive regime.
The film follows a journalist named Jeff Harris, voiced by Jeff Goldblum, as he embarks on a quest for answers. Using a fictional framing device, the film combines this narrative with documentary material gathered by Trueba over a span of 15 years. The animation style used in their previous film, “Chico & Rita,” characterized by thick black outlines and bold colors, is also employed in “They Shot the Piano Player.” This consistency in style adds a vibrant touch to the film.
Jeff’s journey takes him to Rio de Janeiro, where he enlists the help of his friend João, played by Tony Ramos, to interview various Brazilian musicians. The film features a total of 39 interviewees, most of them musicians and influential figures in bossa nova and its offshoots. Trueba, being a music producer himself, spoke with an additional 80 individuals, although their comments did not make it into the final cut of the film.
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The film predominantly adopts the format of an interview documentary, with Trueba and Mariscal animating these interviews. The sheer number of interviews and the emotional depth of their comments leave a lasting impression on the viewer. Caetano Veloso, for example, recalls a train journey with Tenório and speaks reverently of his talent for harmony. Milton Nascimento provides a change of pace by discussing the influence of the Nouvelle Vague on him. The film pays homage to this influence through brief nods to French New Wave films in black and white animation.
Reenactments are seamlessly woven into the animated documentary, bringing nostalgic memories of Rio to life. For instance, the film depicts Ella Fitzgerald’s visit to the Beco das Garrafas, a hub for samba-jazz in Copacabana. These visual recreations enhance the overall viewing experience.
While some interviewees’ comments overlap and become repetitive, particularly regarding the radical nature of bossa nova and Tenório’s talent, this repetition adds a sense of corroboration to the unresolved case of his disappearance. Through interviews with Tenório’s wife, Carmen, and those who knew him, the film explores the devastating impact of his disappearance. It delves into the anguish felt by his family and friends who scoured Buenos Aires’ hospitals and morgues in search of him. The film captures the tense atmosphere of the time, shortly before the coup that overthrew Isabel Perón, and the feeling of living in a war zone.
Back in New York, Jeff and his editor Jessica receive a lesson from journalist John Rowles on the military dictatorships that plagued South America during the ’70s and ’80s. While Trueba doesn’t delve too deeply into the geopolitical context, he effectively conveys the authoritarian repression and violence that shaped the region. The film illuminates a larger picture for the American characters, highlighting the long-lasting impact of these events.
The film reaches its climax when Jeff gains access to the Navy Mechanics School in Argentina, where Tenório spent his final days amongst political prisoners. The haunting recollections of those who witnessed the horrific events reveal the authorities’ wrongful assumption of Tenório’s communist tendencies due to his appearance and possession of a musician’s union card. Confronted with this dark history, both Jeff and the film struggle to articulate their feelings convincingly.
Despite the weight of these revelations, the music and the visually striking animation keep the film afloat. A scene at the Village Vanguard in New York showcases the revival of Tenório’s music, breathed with new life by Jeff and Cuban musician Bebo Valdés. The highlight of the film is a sequence that animates a 1964 recording session for Tenório’s only album. The fauve brilliance of the animation perfectly captures the joy and adventure of the music.
Ultimately, it is the abstraction afforded by animation that gives “They Shot the Piano Player” its heartbeat. Through this unique storytelling medium, the film effortlessly combines the beauty and freedom of bossa nova with the cruelty and control of state terrorism. While the transitions between these disparate themes may not always be seamless, it highlights the coexistence of contrasting elements in the same world. This film serves as a haunting and loving tribute to Tenório Júnior, allowing the audience to experience both the enchantment of bossa nova and the devastating brutality of state oppression.
