In George Sidney's 1963 musical Bye, Bye Birdie, the era of pop singers and Elvis Presley is lampooned in the character of Conrad Birdie (Jesse Pearson), a desirable figurehead for the teen culture movement. The film itself is, ostensibly, about the resistance that the parents have to the new wave of music that is appearing and influencing their kids, with the hip-swinging, revolutionary and fun-loving celebrity of Conrad. In this way, the film can be likened to the resistance that the ruling elite had during the rise of the middle class in Brazil in the early 20th century - Conrad Birdie might be Getulio Vargas, the popular and innovative leader who sought to look out for the people of Brazil and bring them workers' welfare. Of course, the film itself has no clear parallel to Birdie being the authoritarian dictator he became, but it is clear that Conrad represents a shift in culture and life that parents resist and the younger, upcoming generation craves.
The film also provides unique parallels to Brazilian culture in the often-traditional ideas about love and marriage that are carried by many of the characters in the film. Albert feels as though he cannot marry Rosie unless he becomes a success with the "One Last Kiss" show, or else his mother will disapprove - this is indicative of the strong ties with family that many Brazilians experience.
Works Cited
Sidney, George. Dir. Bye, Bye Birdie. Perf. Janet Leigh, Dick Van Dyke, Ann-Margret.
Columbia Pictures, 1963.
