Elvira Pagã

Personal Info

Known For

Acting

Known Credits

0.0911

Gender

Female

Birthday

06-Sep-1920

Age

(106 years old)

Place of Birth

NO INFO PROVIDED

Also Known As
  • Elvira Olivieri Cozzolino

Elvira Pagã

Biography

Elvira Olivieri Cozzolino (6 September 1920 – 8 May 2003), better known by her stage name Elvira Pagã, was a Brazilian vedette, actress, singer, writer, and painter. She was the first Rio Carnival Queen, the first woman to wear a bikini in public, and one of the first women to undergo cosmetic surgery in Brazil. Talented and controversial, she defied the status quo and challenged prevailing sexism with fearless audacity during the Brazilian military dictatorship and the revolutionary 1960s. In her later years, Pagã withdrew from public life, devoting herself to writing and painting, and eventually died in seclusion. Wikipedia


Credits

O Bobo do Rei O Bobo do Rei (1937) Character: N/A
A wealthy sugar mill owner, widowed and living with his only son, suffers from profound melancholy. To alleviate his suffering, he seeks entertainment in the form of any jerk willing to lend a hand. Among the many candidates his secretary presents to fill the "position", a certain "Penguin", who along with his sister "Picolé" lives on the favela hill under the protection of a kind Portuguese shopkeeper, completely pleases the "sovereign" of sugar. With "Penguin"'s entry into the court as the sugar king's "fool", great transformations take place in the home of the wealthy misanthrope.
Vegas Nights Vegas Nights (1948) Character: Self
After a tour of the sights and sounds of the Las Vegas strip, we enter the Club Paradise where we are treated to a night of song, comedy, and dancing.
Cidade Mulher Cidade Mulher (1936) Character: N/A
A theater manager about to go bankrupt decides to accept help from his daughter and her boyfriend to save the family's finances, which she does with the sponsorship of a rich man.
Carnaval no Fogo Carnaval no Fogo (1949) Character: N/A
A gang, leaded by the unknown and mysterious Anjo, robs a jewelry and schedules a meeting in the Copacabana Palace Hotel, in Copacabana. The identification would be through a cigarette case with an angel, and the password "- Is everything all right?" Meanwhile, the director Ricardo is preparing a show for the carnival in the hotel with Marina, and they love each other. The janitor Serafim receives a letter from his unknown American brother, who will come to Rio to spend the carnival and meet him, and asks Eliana for a chance in the show, since his brother believes he is an artist. When Ricardo finds the cigarette case lost by Anjo in the entrance of the hotel, he is misidentified by the thieves, and this is the beginning of lots of confusion and fun.
Alô Alô Carnaval Alô Alô Carnaval (1936) Character: N/A
Two authors go look for a business to finance their dream musical.
Olho Nu Olho Nu (2014) Character: Self (archive footage)
“Naked Eye” is a film-documentary of long-length of the artistic and existential universe of the singer Ney Matogrosso, which proposes to recreate through archive’s images in counterpoint with the current production of the artist, thirty-five years of career marked for inventive and transgressing spectacles, always symphonize with its time. Through a coherent boarding with its intransigent trajectory, the film intends to translate the language musical-corporal of Ney Matogrosso, trying audiovisuals resources that express signs evoked poetical politicians and in the repertoire of the singer. A film-song that that looks for to, ultimately, embody the voices of an artist who searches for a nation.
Tres anclados en París Tres anclados en París (1938) Character: Ella misma
Three Argentines who live in Paris and dream of returning to Buenos Aires but lack resources for the passage, find their opportunity when a landowner, a business man and his daughter arrive in Paris. In a game of rigged poker the three anchors obtain the money for the passages from the newcomers; it happens however that the employer has made an embezzlement and will go to jail if he does not return the money. The character represented by Parravicini, who is the true father of his adopted daughter, gives him the money won to solve his problem and the three remain in Paris to see them in an end with the best poetry of Romero crossing a bridge under the mist , silent, once again anchored but with the happy sadness of recovered self-esteem.



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