A work in constant progress (and occasional regress).
Birthplace:
Bauru, São Paulo, Brazil
Born:
January 1, 1933
Died:
January 24, 1992
Paulo Barbosa Villaça (Bauru, São Paulo, 1933 — Rio de Janeiro, Rio de Janeiro, 1992) was a Brazilian actor and theatre director. Villaça worked as a Literature professor, journalist and advertising manager before his breakthrough as an actor in the 1960s. He achieved success by playing the main role in Rogério Sganzerla's "The Red Light Bandit" (1968). During the 1970s, Villaça was married to famous Brazilian actress Marília Pêra. He played parts in over 20 films, being a reconizable figure in productions from the Brazilian Cinema Marginal movement during the 1960s and 1970s. He also had a solid career at the theatre, where he acted in the Teatro Oficina company and played roles in many important plays, such as "Navalha na Carne", "Fala Baixo Senão eu Grito" and "Grande e Pequeno". In TV, he appeared in shows such as Rede Globo's "O Bofe" and Rede Bandeirante's "Os Adolescentes", limited series like "Quem Ama Não Mata" and "Chapadão do Bugre" and soap operas such as "Helena" and "Vale Tudo". His last film was 1992's "Perfume de Gardênia", which paid homage to his iconic role of The Red Light Bandit. He died in Rio de Janeiro from HIV-related health problems, and was buried in São Paulo.
Assistant Director:
1991 Killed the Family and Went to the Movies
Associate Producer:
1968 The Red Light Bandit
1991 Killed the Family and Went to the Movies
Director:
1968 The Red Light Bandit
1979 O Transformista
1991 Killed the Family and Went to the Movies
In Memory Of:
1968 The Red Light Bandit
1979 O Transformista
1991 Killed the Family and Went to the Movies
1997 Razor in the Flesh
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.