Lábios sem Beijos aka Lips without kisses (1930)
Humberto Mauro 
http://www.imdb.com/title/tt0121999/
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Summary from IMDB: Lelita is a wealthy and rebel young woman, who meets the stranger Paulo Morano in a cab, and after an initial resistance, she falls in love with him. Meanwhile, her younger sister Didi tells her that she has an infatuation with a man called Paulo. Lelita believes that Paulo is cheating her with her sister and she breaks with him. Later, she realizes that her sister is dating indeed a homonymous and she committed a mistake with her boyfriend.


Cast:

Lelita Rosa	 ... 	Lelita
Paulo Morano	 ... 	Paulo
Didi Viana	 ... 	Didi
Gina Cavalieri	 ... 	Gina
Augusta Guimarãe ... 	Perpétua
Alfredo Rosário	 ... 	Rosário
Tamar Moema	 ... 	Tamar
Décio Murilo		
Máximo Serrano		


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The success of this film enabled Gonzaga to form Cinédia and to plan as its first production, Lábios sem Beijos (Lips Without Kisses). He began LELITA ROSAshooting the film with Carmen Santos as the star, but production was stopped due to Santos’s pregnancy. Gonzaga then turned the project over to Mauro who began filming in March 1930 with a new cast headed by the seductive Lelita Rosa and the dashing Paulo Morano. Mauro both directed and photographed Lábios sem Beijos, bringing his special magic to this silent film classic adapted from Gonzaga’s original script. Although by 1930 sound was ascendant in both the United States and Europe, Mauro, who was committed to the art of silent cinema, continued to explore the full creative possibilities of a visual language in the new film. This time, the mood of his film is quite different from his previous work. With the urban sophisticated setting of Rio de Janeiro as a backdrop, Lábios sem Beijos is a delightful romantic comedy, dealing with the relationship between a wealthy, vivacious society girl and a young man with the reputation of a Don Juan. The humorous complications that follow are finally happily resolved. Despite the shift to an urban setting, Mauro continues to emphasize the ties between man and the natural world, as in the opening scenes of Rio amidst the wind and rain and his many location shots of the city’s scenic beauties. In the director’s characteristic style, the intense love scene between the couple in a park is particularly sensuous. Throughout the film, Mauro experimented with unusual camera movements and angles. In a climax marked by dynamic editing, as the heroine races her car through the streets of Rio and into the country, Mauro includes low-angle shots of her driving and, to convey a feeling of rapid motion, employs what would appear to be a hand-held camera while filming in front of, and behind, the car. Expressing a vibrant, optimistic view of life, Lábios sem Beijos is a masterpiece of the climactic era of silent cinema. Upon its release in November 1930, it received an award from the Jornal do Brasil as the best Brazilian film of the year.

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About the director:

The greatest director of the early Brazilian cinema, Humberto Mauro was born on April 30, 1897, on a farm in Volta Grande in the state of Minas Gerais. His father was an Italian immigrant and his mother a native of Minas Gerais. In his early years, he had a particular interest in both music and mechanics, playing the violin and the mandolin and studying engineering at a school in the city of Belo Horizonte. He left the school after one year to join his family in the town of Cataguases where they now resided. With electricity then starting to spread into the Brazilian interior, a technological revolution that attracted the interest of the young Mauro, his first job was to install electricity in local farms. He also built the first apparatus for radio reception in Cataguases. In 1916, he went to Rio de Janeiro where he worked for a time as an electrician, returning to Cataguases in 1920. There he wed Dona Bebê (Maria Vilela de Almeida) to whom he would remain married for the rest of his life. 

[http://www.gildasattic.com/mauro.html]


Labios.sem.Beijos.aka.Lips.without.kisses.1930.Humberto.Mauro.XviD.SILENT.MKO