'Massagista de madame' - 1959

Masseur & high-society lady... 

Polidoro (Zé Trindade) de dia, é uma massagista afamado, requisitado pelas madames do high-society carioca. Sua noiva Juju (Nancy Wanderley), que tem uma academia de capoeira, não gosta do serviço dele, mas ele alega ser sua profissão. Nas sessões de massagem, ouve confidências das ricas senhoras e publica-as secretamente num jornal, usando pseudônimo de Cronista Invisível. Sua coluna causa furor ao revelar segredos íntimos das madames e as cafajestagens de seus maridos. Uma delas (Renata Fronzi), sentindo-se ultrajada e preocupada com a reputação, contrata o detetive particular Faísca (Costinha) que descobre a verdadeira identidade de Polidoro, que se vê acuado pelas mulheres na eminência de lhe arrancar o couro. Protegido pela noiva e os alunos capoeiristas, consegue safar-se, mas seu novo emprego não o agrada nada: massagear homens musculosos.

12 November 1959 - Hollywood visits Herbert Richers Studios in 'Massagista de madame' directed by Victor Lima. 

Zé at the massage parlour; Zé at his bride's workshop.

Zé keeps walking on the tigh-wire... Nancy Wanderley, Zé & Iris Bruzzi.

Madame gets to know her private married life is being printed in a newspaper gossip column.

Madame hires the services of private eye (Costinha) to find out who the Invisible Columnist is...

 the sleuth gets closer to the Invisible Columnist...

Polidoro gets in trouble... 

Polidoro's troubles are compounded... 

Polidoro confess his sins to his bride and gets help from her and her capoeira boys... 

now, wait a minute or else!!! 

the sad end of a madame's masseur... 

1st November 1959 - 'Correio da Manhã' announces 'Massagista de madame' would feature impresario Carlos Machado's lavish ballet first shown at posh night-club 'Night and Day' with Argentine dancer Marina Marcel.

Marina Marcel & partner in Carlos Machado's ballet shown in 'Massagista de madame'. 

18 November 1959 - 'Correio da Manhã''s columnist Valério Andrade like most entertainment-page journalists seemed not to fathom that the Brazilian musical-comedy format was as unchangeable as the Hollywood musical format. That was it! There was nothing to be changed. Musical comedies filled a void in the market place: they were popular, they pleased their audience, they made money in the box-office! They were made for the masses not for journalists who worked for major newspapers. That's what they didn't seem to get ever! So easy and yet so hard. They went to watch the wrong movie. They  thought they were going out to see Gregory Peck or Kim Novak speaking English while they read subtitles.

Faísca (Costinha) & Bob the dog.