Rafael Justo Valverde

Rafael Justo Valverde, born back in 1924, was one of those names floating around the Brazilian film scene if you were paying attention in the late ‘50s and ‘60s. He wasn’t the guy in front of the camera, but he had his fingerprints all over some cult gems—editing magic, you know? “Garota Enxuta” in 1959, that’s one of those cheeky comedies from a time when Rio was buzzing and black-and-white film could say more with a wink than a whole monologue. Valverde was there, slicing up scenes, helping actors shine or saving a shaky performance in the edit room. Fast forward a bit, and suddenly everyone’s obsessed with iê-iê-iê—the Brazilian twist on Beatlemania. “Na Onda do Iê-Iê-Iê” in 1966? Total time capsule, and Valverde kept the energy up, weaving music and comedy together so the whole thing felt like a party you didn’t wanna leave. Not to forget “Entrei de Gaiato,” also from ‘59, another flick riding the wave of that era’s humor and sly social commentary. Valverde passed away in 1986, right in his hometown of Rio de Janeiro. He was never a household name, but for folks who cared about the nuts and bolts of film—how a scene just clicks, how a joke lands, how the rhythm pulls you along—he was kind of a wizard. No statues in his honor, but his work’s still kicking around in old reels and a handful of diehard fans’ memories.