I had the great pleasure of personally meeting the great actress and filmmaker Norma Bengell, during her visit to Prof. Ivo Pitanguy, at his Ivo Pitanguy Clinic, where I worked as Treasurer and PR. Norma Bengell came to ask the Professor for sponsorship for the film "Eternamente Pagú" that she was directing. In conversation with her in my office, I told her that I was a singer and she asked me to sing something for her. I was not begged and, right there, in the chapel
I sang for her one of the most beautiful classics from the Angolan songbook: "Monami Zeca", (in Kimbundu, which in Portuguese means My son sleeps. It is a brilliant composition by Euclides Fontes Pereira, one of the members of the glorious Angolan ensemble "N'gola Rhythms", a set that accompanied me so many times, both in shows in Luanda and in artistic tours around the then province of Angola (in the 60s!).
Norma Bengell was overwhelmed by my voice and the emotion with which I played Monami...
As soon as I shut up, she called her assistant Sónia, and still under the emotion, she said:
Sónia, are you still looking for the singer for the Anthem? For everything. I found THE SINGER! Excited and happy, I didn't hear anything else!
I asked Prof. Pitanguy for some free days and that's how I gained the privilege of being part of the prestigious cast of the first feature film by the Brazilian film director and actress NORMA BENGELL, "Eternamente Pagú".
It was exciting to participate in a film that brought together so many icons of Brazilian cinema and television, such as: Carla Camurati, the protagonist, with whom I had the honor of playing opposite in two scenes, including one of the last scenes of the film, which record the departure of Pagú from prison. In that scene, we say goodbye with a big and heartfelt hug, because the prisoner Lia Navarro, (my character) was still in prison. Lia stood still, facing Pagú, watching over her departure, while singing the Brazilian "Hymn of Liberty", by Maria Werneck.
scene: the "farewell hug"
(Military singing the anthem of freedom).
Aware of the importance of my role as an artist and Angolan citizen, I told Norma Bengell that I thought it was important that I mention Angola next to my name in the credits, to honour my country. After all, few Angolans were invited to participate in Brazilian productions.
scene: featuring Lia Navarro (Milita)
My scenes were filmed in a real prison, and the prisoners, with the exception of our group, were in fact prisoners, who applauded me a lot and even gave me handmade gifts made by themselves (as prophylaxis and also to earn some money). Not being able to give them a physical hug, I squeezed with compassion each of the hands that, through the bars, reached for mine. This experience was very enriching.
Oh, without forgetting that I was also invited to the première of the film.
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