Registo fiel da miséria do povo brasileiro, da procura cega de uma fuga através da religião e do convite a revoltarmo-nos contra a corrupção e o capitalismo, filmado com recurso ora a simbolismos subtis; ora a dramatismos histéricos. Infelizmente, o filme não resistiu ao teste do tempo e chega-nos algo datado. Mas o António das Mortes tem um tema musical que ainda hoje é um mimo.
Excellent movie made with minimal means. The message is clear when Corisco speaks to Lampiao in one of his trances. He interpellates us to become the political rebels, the Lampiaos of the real world. To break with capitalism and neo-colonialism. An inspiring message.
A slow-moving, chaotic and mindblowing movie that points its criticism at religion, capitalism and revolutionaries and even 'The People'. Each group the protagonists follow seems to attempt to destroy them, with even the relationship between the protagonists seeming to be distant. It's marred by some heavy handed metaphors and over-acting, but it is still an interesting movie that leaves a lasting impression.
Un retrato sobre la enemistad en las inmediaciones del sertão, un lugar en donde el bien y el mal son uno solo, y no existe posibilidad al consenso. Rocha adopta dos formalidades que hacen de su filme seductor. Es un cine regional, es decir, con una identidad y un costumbrismo propiamente definido. Se percibe en esa voz mítica que canta cual testimonio folclórico. Es también, un western sobre bandoleros y venganzas.
During the first half of the film I experienced a distance to the characters. The same distance I, as a white Norwegian, feel towards many cultures in the real world. The film's aim is not to make the "black people" relatable. On the contrary, the film wants to repel "white people" by magnifying some racial “differences”(continued...)
An immensely captivating film, especially the first half of this religious western where the war is fought not over land but over man's soul. Rocha gets intense performances out of his actors (although there's a fair share of overacting from today's perspective). Great manic monologues and perfect pictorial compositions. Watch the shadows.
I'm thinking maybe this wasn't the ideal Glauber Rocha to start with because it fucked my brain like it was fucking a Tijuana prostitute. Then again, maybe it was the ideal Glauber Rocha to start with because it fucked my brain like it was fucking a Tijuana prostitute.
WOW! WOW! WOW! 25 year old Glauber Rocha made a masterpiece. It should have won the Palme d'Or during Cannes Film Festival 1964 over UMBRELLAS OF CHERBOURG (1964). This is a great, great piece of filmmaking that mirrors the political and cultural tension of 1960s Brazil. A film fashioned to be one of Brazilian Cinema's defining moment in its revolt against feudalism, poverty and corruption.