The hospital did not disclose the location of the artist’s wake and burial, which will only be restricted to family and close friends of the comedian. The body left the scene, in the Bela Vista neighborhood, around 10:38 am.
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Presenter, comedian, actor and writer Jô Soares died at 2:30 am this Friday (5), at the age of 84. Considered one of the greatest comedians in Brazil, the presenter of “Programa do Jô”, shown on TV Globo from 2000 to 2016, had been hospitalized since July 28 at Hospital Sírio-Libanês, in the central region of São Paulo.
The announcement of the death was made by Flávia Pedra, Jô’s ex-wife, and confirmed in a note by the press office of Hospital Sírio-Libanês.
“You are proud of everyone who shared life with you in some way. I thank the Lords of Time and Space, for giving me the luck to let our lives intersect. Thank you for the asthmatic laughs, for our homes in my way , for the trips to the chicest and most cheesy places, for the amount of movies, which you thought it was lucky I didn’t remember to see again, and for the indecent amount of ice cream that we had watching,” Flávia wrote on a social network. the full text here.
Because of the death of the artist, the governor of SP, Rodrigo Garcia (PSDB), decreed three days of official mourning in the state.
Facade of Hospital Sírio Libanês, in downtown São Paulo. — Photo: Kleber Tomaz/g1
Humor as a Trademark
In all his numerous artistic activities – interviewer, actor, writer, playwright, director, screenwriter, painter… –, Jô Soares had humor as his trademark. It was his starting point and his signature in theater, TV, cinema, visual arts and literature. He liked to admit it himself.
“Everything I’ve done, everything I do, has always been based on humor. Since I was born, I’ve always had it,” he said in a statement to the website Memória Globo.
Jô Soares gets emotional when saying goodbye to ‘Programa do Jô’ — Photo: Carol Caminha / Gshow
Jô Soares at JG, in 1984 — Photo: Reproduction
In the last 25 years, Jô became known for being the most famous talk show host in the country. On TV Globo, he starred in the “Jo talk show”, aired from 2000 to 2016.
Considered a pioneer of stand-up, he also stood out for being one of the main comedians in the history of Brazil, participating in attractions that made history on TV, such as “A Família Trapo” (1966), “Planeta dos Homens” (1977) and ” Long live the Fat” (1981). Furthermore, he has written books and acted in 22 movies.
José Eugênio Soares was born in Rio de Janeiro on January 16, 1938. He was the only son of the businessman Orlando Heitor Soares and the housewife Mercedes Leal Soares. In an interview with Fantástico in 2012, Jô said that “because he was always fat, he preferred to be known more for the spirit than for the physical”.
“So I was very, very showy,” he assumed. “I’m very vain, I’ve never hidden it. What artist is not vain? All. It is a showcase profession for exhibitors. You are born wanting to seduce the world.”
As a child, Jô studied at a boarding school. “I cried a lot. It was an excessive thing, an almost gay sensibility thing,” he told Fantástico. The reason was the fear of getting a bad grade and not having the right to go home on weekends. In school, his nickname was Poet. “Being fat and having the nickname of a poet – I think that was already a victory.”
At the age of 12, he went to study in Switzerland, where he stayed until he was 17. There, he became interested in theater and shows. But the original plan was not to pursue a career on the stage.
“I thought I was going to pursue a diplomatic career,” he explained to Memória Globo. “But I always went to the theater, I always went to shows, I went backstage to see what it was like. with the shoes I was wearing on my toes.”
Jô Soares — Photo: TV Globo
As father Orlando’s business failed, the family had to return to Rio. At this time, Jô was ready to face his newfound vocation in the arts. “I immediately started going to the theater class, showing my numbers, and it got going almost naturally,” he recalled.
The IMDb portal also lists that, in the period, he was in the musical films “Rei do moviment” (1954), “De perna pro ar” (1956) and “Pé na planta” (1957). At the beginning of his film career, he stood out as an actor in Carlos Manga’s “O homem do Sputnik” (1959).
His debut on TV took place in 1958. That year, he participated in the show “Noite de gala” and started writing for “TV Mistério”, which had Tônia Carreiro and Paulo Autran in the cast. They were shown on TV Rio. On the station, Jô was also on “Noites cariocas”. He then wrote and acted in TV Continental comedies.
On TV Tupi, he participated in the “Grande Teatro Tupi”, which included names such as Fernanda Montenegro, Ítalo Rossi, Sérgio Brito and Aldo de Maia. “I managed to work at the same time in the three stations that existed in Rio”, he declared to Memória Globo.
In 1960, Jô moved to São Paulo to work at TV Record.
“I came to discover São Paulo, I was married to Teresa, I was 22 years old. I came to spend 12 days and stayed for 12 years”, he recalled to Fantástico when mentioning his marriage to actress Therezinha Millet Austregésilo (1934-2021), with whom he had his only child, Rafael, who was autistic and died at the age of 50.
From there, he acted and wrote for several attractions, such as “La reuve chic”, “Jô show”, “Praça da Joy”, “Quadra de azes”, “Show do dia 7” and “Você é o detective”.
The great highlight of the time was “A Família Rapo”, shown between 1967 and 1971 every Sunday. In the beginning, Jô just wrote the script – his partner was Carlos Alberto Nóbrega. Then he got a role: the butler Gordon. The cast also had names like Otelo Zeloni, Renata Fronzi, Ricardo Corte Real, Cidinha Campos and Ronald Golias.
Jô used to celebrate the pioneering spirit of attraction. “I think it was the first sitcom ever made,” he told Memória Globo. To Fantástico, he commented that “it was the first big national success on TV.” “I left a year before [do fim do programa]in 1970. I signed a contract with Globo, where Boni, who already knew me and was a friend, and Walter Clark were.”
For the next 17 years, starting in 1970, Jô Soares stayed at TV Globo. The premiere was on the program “Make humor, don’t make war”, alongside Renato Corte Real (both were screenwriters and protagonists). The texts were also signed by Max Nunes, Geraldo Alves, Hugo Bidet and Haroldo Barbosa. “We created an average of 20-odd characters a year. When the last program ended, there were more than 260 characters created,” Jô told Memória Globo.
In 1973, a new humorous appeared, “Satiricom”. “It was a program in the style of the extinct “Casseta & Planeta”, from satire to communication. We played with soap operas, with the news. So, there were no fixed frames”, he compared.
In 1977, it was the turn of “O planeta dos Homens”, in which he again divided himself between the roles of actor and writer, with the collaboration of two of his usual partners: Max Nunes and Haroldo Barbosa. The cast, once again, drew attention: Agildo Ribeiro, Paulo Silvino, Luís Delfino, Sonia Mamede, Berta Loran, Costinha, Eliezer Motta and Carlos Leite.
Although “O Planeta dos Homens” aired until 1982, Jô left a year earlier to dedicate himself to his next project: “Viva o gordo”.
“My humor always has a political background, it always has an observation of everyday life in Brazil”, he said.
“My characters are much more psychologically and socially based than pure caricature. I’ve never played a necessarily fat character. They’re fat because I’m fat.”
From this gallery of figures, the highlights were Reizinho (monarch of a kingdom that satirized Brazil at the time), Captain Gay (a homosexual superhero) and Zé da Galera (from the slogan “Bota Ponta, Telê!”).
Jô Soares during an interview with Roberto D’Avila in July 2014 — Photo: Zé Paulo Cardeal/Globo
When his contract with Globo expired in 1987, Jô Soares joined SBT. He attributed the change to the possibility of hosting a talk show on the new network.
“At the end of the contract, I spoke to Boni, my friend… At the time, there was hatred, of course. Because I said ‘no’ [à proposta de renovação com a TV Globo]”, Jô admitted to Fantástico in 2012. During its 11 years of airing, the talk-show “Jô Soares eleven and a half” yielded more than 6,000 interviews.
“And during the impeachment process of President Fernando Collor, ‘Jô Soares Onze e Meia’ functioned as a kind of popular platform, with the presenter interviewing some of the main implicated and witnesses of the case”, points out Memória Globo.
“I think I discovered, also by accident, the great vocation of my life, the thing that gives me the most pleasure, the most joy to do. I feel very alive there. The biggest attraction in the world is the chat, the conversation”, said Jô himself.
He returned to Globo in 2000, when “Programa do Jô” premiered.
“It wasn’t for a salary issue, because SBT’s counter-proposal was very high. I came back for the possibility of doing more international interviews, for the recording facilities, for the support of journalism.”
Jô Soares was also a best-selling author and wrote for newspapers and magazines.
In the 1980s, he wrote regularly for the newspapers “O Globo” and “Folha de S.Paulo” and for the magazine “Manchete”. Between 1989 and 1996, he wrote a column in Veja.
He also wrote five books, four of which were novels. The premiere was “O astronauta sem regime” (1983), a collection of chronicles originally published in “O Globo”. The novel “O Xangô de Baker Street” (1995) topped the bestseller lists and was adapted for film in 2001. The following works were “The man who killed Getúlio Vargas” (1998), “Assassinatos na Academia Brasileira de Letras ” (2005) and “The Choked” (2011).
In the theater, Jô became famous for his monologues, all marked by a comic and critical tone, with satires of everyday and political life in Brazil. The best known were “Love a fat man before it’s over” (1976), “Long live the fat man and down with the regime!” (1978), “Um gordoidão no país da inflation” (1983), “O gordo ao vivo” (1988), “Um gordo em concerto” (1994) – which ran for two years – and “Na mira do gordo ” (2007).
Among the shows in which he worked as an actor on stage, there is also a production of “Auto da compadecida” and “Oscar” (1961), with Cacilda Becker and Walmor Chagas. As a director, he was in charge of “Soraia, Posto 2” (1960), “The Seven Kittens” (1961), “Romeo and Juliet” (1969), “Frankenstein” (2002), “Ricardo III” (2006).
Jô Soares at JG, in 1984 — Photo: Reproduction
Of his more than 20 works in cinema, Jô appeared in some classics of national cinema, such as “Hitler IIIº Mundo” (1968), by José Agripino de Paula”, and “A mulher de todos” (1969), by Rogério Sganzerla. In addition, he directed a film, “The Father of the People” (1976).
‘Exotic disease hypochondriac’
To Fantástico in 2012, Jô talked about death, always in a good mood. Remember in the video below:
Jô Soares tells what he saw in life
“I’m a hypochondriac of exotic diseases. Beriberi – I don’t even know what it is, but I’m terrified of catching it”, he joked.
“The fear of death is a useless feeling: you’re really going to die, it’s no use being afraid. I’m afraid of not being productive. Quoting my friend Chico Anysio, [uma vez] they asked him: ‘Are you afraid of dying?’ He said, ‘No. I pity’. Flawless.”