Morreu no Rio nesta quarta-feira, 22, aos 98 anos, o cineasta e produtor Luiz Carlos Barreto, maior responsável direto pela estruturação de uma indústria do cinema no Brasil. Foi ele quem esteve à frente das negociações para a criação de uma Agência Nacional de Cinema, a Ancine. Era conhecido como Barretão e formava, com a mulher, Lucy, e os filhos, Bruno, Fábio e Paula, uma espécie de usina de produção e de referência audiovisual do País e da América Latina.

Durante 34 anos, um filme da produtora LC Barreto, Dona Flor e Seus Dois Maridos (1976), foi a maior bilheteria do cinema brasileiro, com 10,7 milhões de espectadores, só sendo superado em 2010 com o lançamento de Tropa de Elite 2. Dona Flor não foi somente um sucesso de bilheteria: baseado em romance do escritor baiano Jorge Amado, de 1966, foi uma aposta na excelência da cultura brasileira e na sua capacidade de produzir obras autorreferentes, sem emular fórmulas internacionais.

No cinema, sua carreira começa como repórter da revista O Cruzeiro e, logo a seguir, como coautor do roteiro e coprodutor de O Assalto ao Trem Pagador (1962). Cearense de Sobral, como o cantor Belchior, graduado em Letras e jornalismo, ele foi diretor de fotografia de um marco do cinema nacional: a adaptação de Vidas Secas (1963), romance de Graciliano Ramos, pelo diretor Nelson Pereira dos Santos. Também foi diretor de fotografia de Terra em Transe, (1967), clássico atemporal do Cinema Novo, dirigido por Glauber Rocha. Duas produções da LC Barreto Filmes, O Quatrilho, dirigido por Fábio Barreto, e O Que É Isso, Companheiro?, de Bruno Barreto, foram indicados ao Oscar na categoria de melhor filme estrangeiro nos anos de 1996 e 1998. Um dos maiores filmes brasileiros de todos os tempos, Bye Bye Brasil, de Cacá Diegues, também foi produzido por Barretão. Somente essas produções já seriam suficientes para sustentar o andaime fundacional do cinema do País. Mas ele atuou ainda em mais de 80 produções.

O êxito como produtor fez de Barretão uma figura singular na cena da política cultural brasileira. Era comum que governantes o chamassem para pedir auxílio na formulação de diretrizes para o setor (ou pelo menos apoio político). Quando foi nomeado Ministro da Cultura o sociólogo Francisco Weffort, este demorou para assumir seu posto em Brasília por conta das atividades como professor da USP. Quando finalmente viajou para assumir, Weffort marcou duas entrevistas para o primeiro dia de trabalho, para explicar sua filosofia: uma com o jornal Folha de S.Paulo e outra com O Estado de S.Paulo (este articulista era o repórter, na ocasião). Quando entrei na antessala de Weffort, ele ainda não tinha chegado e fiquei na sala de espera, mas a porta estava aberta e dali do sofá dava para ver um homem fumando charuto e falando ao telefone. Era o Barretão. Ele tinha se sentado à cadeira do titular antes do ministro e despachava sem cerimônia.

Barretão também não tinha papas na língua, o que o fez, inicialmente, um crítico severo das ideias para o setor audiovisual de diferentes gestões. Em uma entrevista antiga, o ex-ministro Juca Ferreira lembrou os embates que enfrentou no ministério em suas duas passagens, quando o governo Lula tentava estabelecer uma política audiovisual descentralizada, autônoma e forte. Dois críticos foram duríssimos: Cacá Diegues e Barretão. “Cito os nomes até para desopilar o fígado, para perdoar”, brincou Ferreira há alguns anos – o ex-ministro lamentou hoje em suas redes sociais a perda do produtor. “O Ministério da Cultura se solidariza com familiares, amigos e toda a comunidade cultural, prestando homenagem ao legado de Luiz Carlos Barreto para a cultura e o cinema brasileiros”, disse o MinC em nota oficial.

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