"Canecão – Tantas Emoções"
Roqueiros brasileiros dos anos 1980 reunidos por Bruno Levinson no Canecão – foto In-Edit/divulgação

O festival de documentários musicais In-Edit Brasil, em cartaz em São Paulo até o dia 28 de junho, inicia sua 18ª edição com vasta programação, puxada pela exibição de filme inédito sobre a histórica casa carioca de espetáculos Canecão, nesta quinta-feira, 18 de junho. No mesmo dia, serão exibidos longas-metragens sobre a histórica casa de espetáculos carioca Canecão, o ícone “cafona” goiano Odair José, as cantoras e compositoras cariocas Baby do Brasil e Fernanda Abreu, a matriarca musical paraense Dona Onete, o quase secreto grupo tradicionalista/indígena gaúcho Os Tápes, o hip-hop paulista reunido no Teatro de Contêiner, o baixista carioca Arthur Maia, o compositor alemão Kurt Weill, o astro pop britânico Boy George e seu Culture Club, o jazzista estadunidense Sun Ra, o jazzista sírio Kinan Azmeh, a cantora drag queen estadunidense Dean Johnson, a música erudita venezuelana e a Academia de Bachata na República Dominicana, além de uma bateria de curtas e médias-metragens.

Canecão – Tantas Emoções, dirigido por Bruno Levinson, faz um voo rasante sobre o estabelecimento encravado entre Botafogo, Urca e Copacabana, inaugurado em 1967 como cervejaria, transformado em casa de espetáculos em 1969 com um show de Maysa, fechado em 2010 e abandonado desde então. O filme leva a um cenário montado nos escombros do Canecão uma galeria de estrelas da MPB e do rock brasileiro que passaram por ali durante quatro décadas, de A de Adriana Calcanhotto, Alceu Valença, Alcione e Angela Ro Ro a Z de Zélia Duncan.

Num dos momentos de clímax (e de exceção, já que Levinson não conseguiu arrastá-lo ao palco desmoronado), Roberto Carlos vai às lágrimas ao tecer recordações sobre o espaço em que, como dizia sua canção de 1973, o show já terminou. No início dos anos 1970, o Canecão marcou a consagração de Roberto não mais como “rei do iê-iê-iê”, mas como o maior ídolo romântico da história da música brasileira.

E lá no fundo azul, Roberto Carlos se emociona em “Canecão – Tantas Emoções”

Roberto Carlos à parte, o protagonista vivo de Canecão – Tantas Emoções é outro: Elymar Santos. Já nas primeiras cenas, o diretor apanha o cantor carioca (nascido no Morro do Alemão) em sua casa na Ilha do Governador, para levá-lo de volta à casa de espetáculos que ele alugou a duras penas em 1986, contra tudo e contra o descrédito de todos, quando era um artista praticamente desconhecido e restrito aos subúrbios cariocas.

Nas ruínas do Canecão, Elymar se encontra com Léa Penteado, ex-assessora de imprensa do Canecão (e de Roberto Carlos), grávida de memórias assim como cada um dos rostos que passam pela tela durante 87 minutos. Esses abrangem de artistas famosos a trabalhadores anônimos (técnicos de som, segurança, camareiras, cozinheiro) que construíram e mantiveram a mítica da casa montada pelo empresário paulista Mário Priolli (1936-2018), avô de um astro juvenil que fez sucesso em 2004 com o hit pop “Um Amor de Verão” (e não aparece no filme), Felipe Dylon.

“Elymar Santos me inspirou a querer cantar no Canecão”, afirma o emepebista pernambucano Geraldo Azevedo, que contava duas décadas de estrada quando Elymar tomou a casa de assalto pela primeira vez. Léa Penteado fala sobre o descompasso entre artistas e mídia, pródiga em ignorar alguns dos shows de maior público da casa. O melhor exemplo é o próprio Elymar, que até passar a lotar o Canecão só encontrava espaço para se apresentar em churrascarias e casas suburbanas de shows. “Ele virou a vedete da música popular brasileira naquela semana”, afirma pouco tempo antes de morrer o diretor artístico do Canecão à época, Jerson Alvim. O show de Elymar, que seria único, se desdobrou em temporada com ingressos esgotados e disputados.

Sem maiores ambições cinematográficas, Canecão – Tantas Emoções é precioso pelos depoimentos que agrega e pelos encontros que promove. Em suas cenas, formam-se duplas ora mais, ora menos inusitadas, por exemplo Ney Matogrosso e Paulo Ricardo, Geraldo Azevedo e Baby do Brasil, Alcione e Adriana Calcanhotto, Fernanda Abreu e Marcelo D2…

Ney Matogrosso, diretor do derradeiro show de Cazuza (no Canecão), e a mãe do roqueiro, Lucinha Araújo, disputam a memória do artista morto em 1989, divergindo sobre o figurino usado no espetáculo O Tempo Não Para, de 1988. “O filho é meu”, crava Lucinha. “Eu sei, mas o figurino é meu”, retruca Ney. “Você está esclerosado, esqueceu”, ela treplica, demarcando ainda que preferia ter o filho vivo, anônimo e “cheio de filhinhos, de criancinhas correndo”, a ser mãe de um astro morto precocemente. Os motivos da rusga entre a mãe e o ex-namorado são ásperos – e desgraçadamente reais.

Levinson executa a proeza de reunir, numa cena só, parte substancial (e exclusivamente masculina) do rock brasileiro dos anos 1980, cuja ascensão contou com a adesão do Canecão desde a explosão da Blitz, em 1982. Postam-se lado a lado, entre outros, Evandro Mesquita, Lobão, Frejat, Leo Jaime e Leoni. Ritchie e Tony Bellotto (dos Titãs) também comparecem, mas em separado.

“Eu só fiz o Canecão abrindo, era uma matinê de três shows, eu às 18h30, Baden Powell às 20h e Dercy Gonçalves às 22h”, Lobão fotografa as cobras, lagartos, alhos e bugalhos que a casa costumava reunir.

São muitos os flagrantes tocantes captados pela câmera de Tantas Emoções. Figurante na época inicial da Banda do Canecão, Alcione cantarola “Meu Mundo Caiu” (1956), de Maysa, e conta o que sentiu ao assistir ao show inaugural dar artista em 1969. Evandro Mesquita espanta-se com a presença de Dorival Caymmi na plateia do show da Blitz em 1983. Chico Chico conta as sonecas que tirou nos bastidores da mãe, Cássia Eller, nos 1990.

O célebre episódio de pancadaria e bombas de lacrimogênio durante show da banda punk estadunidense Ramones, em 1992, é narrado sob vários pontos de vista, o mais surpreendente deles pelo rapper carioca Marcelo D2. Ele era camelô, vendendo camisas de bandas de rock do lado de fora do Canecão, e aproveitou o tumulto para entrar na casa, provavelmente pela primeira vez, com seus produtos comerciais. A engajada banda de rap hardcore de D2, Planet Hem, ficaria nacionalmente conhecida três anos depois, a partir do álbum Usuário.

Atualmente, a Universidade Federal do Rio de Janeiro, dona do terreno onde se plantou a velha casa de shows, promete para o início de 2028 a inauguração de um “Novo Canecão”, mas o documentário não entra nesse mérito. Por ora, é hora de reminiscências sortidas sobre MPB de diversas gerações, rock brasileiro e gringo, bailes de black music, Gala Gay e premiações carnavalescas. A presença de Elymar Santos, camelôs e trabalhadores do Canecão traz ao filme uma dimensão que vai além dos clichês de “elite” da MPB e bichos semelhantes.

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