Original title: The General
Director: Clyde Bruckman , Buster Keaton
Main actors: Buster Keaton, Marion Mack
Scenario: Al Boasberg, Charles Smith
Production: Joseph Mr. Schenck
Company (s) Distribution: United Artists
Country of origin: United States
Language (s) Original (s): in English intertitles
Format
1:33 Genre: Burlesque
Duration: 94 minutes
A comical personality novel, which combines an impassive face and a absolute amazing plasticity of the body
Florence Colombani article published in October 2005 "Le Monde"
Joseph Frank Keaton , born in 1895 in Kansas is a child of the ball. His parents, both comedians, crisscross the United States in the company of Harry Houdini . Renamed Buster "by the famous magician, the child takes the stage at the age of 5 years. It presents him as "the boy that can not hurt" because he survived a terrifying series domestic accidents. Before an audience laughing, he collects the hits, connects the faces and waterfalls.
Yet all is not so funny: behind the scenes, Keaton father, an alcoholic, a heavy hand and spend all that her son reported. Young man, Buster Keaton is recruited by Roscoe "Fatty" Arbuckle , a major star of silent films. From his first appearances in short films ( butcher Fatty, Fatty cook ) Keaton says personality comic novel, which combines absolute impassive face and an amazing plasticity body. Driven by Arbuckle, he moved to the staging, and deployment in this new discipline a genius worthy of his amazing acting abilities.
In The Playhouse, which shows a night at the theater, he plays all the roles: the musicians, the conductor, an old lady among the spectators ... In S Sherlock Junior , beautiful poetic reverie, Keaton plays a projectionist who crosses the barrier of the screen and enters the film. For The Mechanic the "General" , it is based on a real episode of the war Civil. The film is the pinnacle of his career as a filmmaker, his masterpiece, the most pure, geometric accuracy in the staging and design of gags. In 1928
, Buster Keaton is at the pinnacle of success: he realized thirty-one films, his face sad clown is worshiped in the world and is married to Natalie Talmadge , sister of the famous Norma, who gave her son two.
Despite warnings Charlie Chaplin and Harold Lloyd , friendly rivals, he is committing a fatal mistake in yielding to the insistence his brother, Joe Schenck . Keaton sign a contract with MGM and finds himself suddenly deprived of his artistic independence. Within five years, the star is reduced to absolute despair.
When it comes time to move on to talking, his voice hoarse betrays more than the hesitant gestures, the severity of his alcoholism. In 1934 , he loses everything. Referred by the studio, left by his wife, Keaton , private rights of exploitation of its films by this contract fatal, is featured on the straw. After many sad years of wandering and vague appearances in studio films. Some roles in Europe - in France it turns King of the Champs-Elysees - touring theatrical and, later, television save him from oblivion. Billy Wilder makes one melancholy ghosts that haunt Sunset Boulevard. Chaplin, who has always admired, sharing the stage with him in The Limelight . In 1966 , Buster Keaton dies in his sleep, a very peaceful death for the boy that could not hurt.
Florence Colombani article published in October 2005 "Le Monde"
Joseph Frank Keaton , born in 1895 in Kansas is a child of the ball. His parents, both comedians, crisscross the United States in the company of Harry Houdini . Renamed Buster "by the famous magician, the child takes the stage at the age of 5 years. It presents him as "the boy that can not hurt" because he survived a terrifying series domestic accidents. Before an audience laughing, he collects the hits, connects the faces and waterfalls. Yet all is not so funny: behind the scenes, Keaton father, an alcoholic, a heavy hand and spend all that her son reported. Young man, Buster Keaton is recruited by Roscoe "Fatty" Arbuckle , a major star of silent films. From his first appearances in short films ( butcher Fatty, Fatty cook ) Keaton says personality comic novel, which combines absolute impassive face and an amazing plasticity body. Driven by Arbuckle, he moved to the staging, and deployment in this new discipline a genius worthy of his amazing acting abilities.
In The Playhouse, which shows a night at the theater, he plays all the roles: the musicians, the conductor, an old lady among the spectators ... In S Sherlock Junior , beautiful poetic reverie, Keaton plays a projectionist who crosses the barrier of the screen and enters the film. For The Mechanic the "General" , it is based on a real episode of the war Civil. The film is the pinnacle of his career as a filmmaker, his masterpiece, the most pure, geometric accuracy in the staging and design of gags. In 1928 , Buster Keaton is at the pinnacle of success: he realized thirty-one films, his face sad clown is worshiped in the world and is married to Natalie Talmadge , sister of the famous Norma, who gave her son two.
Despite warnings Charlie Chaplin and Harold Lloyd , friendly rivals, he is committing a fatal mistake in yielding to the insistence his brother, Joe Schenck . Keaton sign a contract with MGM and finds himself suddenly deprived of his artistic independence. Within five years, the star is reduced to absolute despair.
When it comes time to move on to talking, his voice hoarse betrays more than the hesitant gestures, the severity of his alcoholism. In 1934 , he loses everything. Referred by the studio, left by his wife, Keaton , private rights of exploitation of its films by this contract fatal, is featured on the straw. After many sad years of wandering and vague appearances in studio films. Some roles in Europe - in France it turns King of the Champs-Elysees - touring theatrical and, later, television save him from oblivion. Billy Wilder makes one melancholy ghosts that haunt Sunset Boulevard. Chaplin, who has always admired, sharing the stage with him in The Limelight . In 1966 , Buster Keaton dies in his sleep, a very peaceful death for the boy that could not hurt.
The mechanic of pantomime
In an article published in August 1958 in the Cahiers du cinema, "Andrew Martin described the films of Buster Keaton of" mathematical and geometric perfection "
Keaton does not seem to call his game mimicry, so the pace is sure. To signify his findings unrepeatable, he moves like a machine that dominates higher at the end of the torso stiff, motionless and face as an independent. But the whole gives the impression not of a robot insensitive, but rather the idea of tension and of the decision. Operating according to strict plumbs the body Keaton evolves with a continuously moving planet. He can break a race, swerve, change direction, in full swing, without apparent effort, as if these changes were mechanized speed: running on the boardwalk in unpinned Sheriff against his , Keaton arrives, the night at the cabin of the enemy's staff in The Mechanic of the "General" . And to top these monologues engines Keaton stops often defying gravity in images as admirable as those of Mechano the "General" , where, perched on the roof of his engine running, surrounded plan General with a parade of beautiful countryside, they scan the horizon threatening, the body stiff, leaning forward, as ineradicable a gyroscope. Keaton only gave to the body this comedy glory still special. (...)
was loaned to Chaplin this sentence is perhaps apocryphal, "I'm an extraordinary being, I do not need extraordinary angles. "It is in any case certain that Chaplin, standing as a concert soloist at center stage, considers itself the center of the action. That is probably why he never knew camping use a street or a river. When it expands the scope of its images is not given a chance to the nature or scenery, but to register a personal arabesque further. (...)
Keaton, however, reveals a sense of nature as the stringency of comic movements can not bully. Concerted events of his films are in settings of great beauty realistic. Behind the locomotive Mechano the "General" admirable landscapes pass campaign, regiments of cavalry that seem out of the famous Civil War photographs collected by Matthew Brady . The sunny valleys and rivers Malec aeronaut or Latest Round camp sorry Buster Goes to War, testify to the skill with which Keaton locates its pantomimes.
The beauty of the scenery, the magnitude of the sites most directly support the dynamism of the action. One of the most extraordinary images of "adventure film" of the whole film is certainly one of Mechano the "General" where the locomotive crossing a bridge in southern fire destroys everything and crashed into a river crowded with soldiers panicked by the disaster. In Around the World in eighty days of Michael Anderson, a scene was not comparable to fireworks worthy of Jules Verne .
In the films of Keaton , natural sites seem to be formed from all eternity than to bend to the diagrams demanding action comedy. The winding lanes of Mechano the "General" it can organize an amazing play between different levels of track, a locomotive that is always changing direction and a character who is working on slopes. It's still in The Mechano that Keaton our breath away, making sudden overlap two locomotives that were to meet, thanks to an ingenious system of channels.
Keaton directed the deployment of his character, not in the online biography of careerism common (eg Chaplin example), but by investing perceptual space images from his films with a science perceptual n 'belongs only to him. Not only Keaton does not center the action on its main character, but it includes the viewer in the specific system of relations which he belongs, forcing him to feel his own image mixed with circulated movements on the screen. So did he ever need, as Chaplin, target room, and regardless of viewer, since it is embedded as the hero in a unique cinematic perspective. (...)
By not letting it show his plans and his feelings, forbids any Keaton thriller. The key for him is not the movement, anticipation, surprise, but the route and concerted forms apprehended by the images, which gives them a special artistic value.
All elements of the best films of Keaton are subject to mathematical and geometric perfection who had enchanted René Clair, and is reminiscent of obsessions and fantasies mathematics Poe . The two symmetrical parts of Mechano the "General" ( Keaton Keaton prosecutor and prosecution) and everything that follows is an example of what happiness proportions and shapes. With the energy of a perpetual motion, the film unfolds through the axis of a single track railway. In return, the adventures of the driveway every breed, but different, turning the film as a medal, as amazing as the other side of the moon, while the abundance of findings, attitudes and images admirable never wavered.
In an article published in August 1958 in the Cahiers du cinema, "Andrew Martin described the films of Buster Keaton of" mathematical and geometric perfection "
Keaton does not seem to call his game mimicry, so the pace is sure. To signify his findings unrepeatable, he moves like a machine that dominates higher at the end of the torso stiff, motionless and face as an independent. But the whole gives the impression not of a robot insensitive, but rather the idea of tension and of the decision. Operating according to strict plumbs the body Keaton evolves with a continuously moving planet. He can break a race, swerve, change direction, in full swing, without apparent effort, as if these changes were mechanized speed: running on the boardwalk in unpinned Sheriff against his , Keaton arrives, the night at the cabin of the enemy's staff in The Mechanic of the "General" . And to top these monologues engines Keaton stops often defying gravity in images as admirable as those of Mechano the "General" , where, perched on the roof of his engine running, surrounded plan General with a parade of beautiful countryside, they scan the horizon threatening, the body stiff, leaning forward, as ineradicable a gyroscope. Keaton only gave to the body this comedy glory still special. (...) 
was loaned to Chaplin this sentence is perhaps apocryphal, "I'm an extraordinary being, I do not need extraordinary angles. "It is in any case certain that Chaplin, standing as a concert soloist at center stage, considers itself the center of the action. That is probably why he never knew camping use a street or a river. When it expands the scope of its images is not given a chance to the nature or scenery, but to register a personal arabesque further. (...) Keaton, however, reveals a sense of nature as the stringency of comic movements can not bully. Concerted events of his films are in settings of great beauty realistic. Behind the locomotive Mechano the "General" admirable landscapes pass campaign, regiments of cavalry that seem out of the famous Civil War photographs collected by Matthew Brady . The sunny valleys and rivers Malec aeronaut or Latest Round camp sorry Buster Goes to War, testify to the skill with which Keaton locates its pantomimes.
The beauty of the scenery, the magnitude of the sites most directly support the dynamism of the action. One of the most extraordinary images of "adventure film" of the whole film is certainly one of Mechano the "General" where the locomotive crossing a bridge in southern fire destroys everything and crashed into a river crowded with soldiers panicked by the disaster. In Around the World in eighty days of Michael Anderson, a scene was not comparable to fireworks worthy of Jules Verne .
In the films of Keaton , natural sites seem to be formed from all eternity than to bend to the diagrams demanding action comedy. The winding lanes of Mechano the "General" it can organize an amazing play between different levels of track, a locomotive that is always changing direction and a character who is working on slopes. It's still in The Mechano that Keaton our breath away, making sudden overlap two locomotives that were to meet, thanks to an ingenious system of channels. Keaton directed the deployment of his character, not in the online biography of careerism common (eg Chaplin example), but by investing perceptual space images from his films with a science perceptual n 'belongs only to him. Not only Keaton does not center the action on its main character, but it includes the viewer in the specific system of relations which he belongs, forcing him to feel his own image mixed with circulated movements on the screen. So did he ever need, as Chaplin, target room, and regardless of viewer, since it is embedded as the hero in a unique cinematic perspective. (...)
By not letting it show his plans and his feelings, forbids any Keaton thriller. The key for him is not the movement, anticipation, surprise, but the route and concerted forms apprehended by the images, which gives them a special artistic value. All elements of the best films of Keaton are subject to mathematical and geometric perfection who had enchanted René Clair, and is reminiscent of obsessions and fantasies mathematics Poe . The two symmetrical parts of Mechano the "General" ( Keaton Keaton prosecutor and prosecution) and everything that follows is an example of what happiness proportions and shapes. With the energy of a perpetual motion, the film unfolds through the axis of a single track railway. In return, the adventures of the driveway every breed, but different, turning the film as a medal, as amazing as the other side of the moon, while the abundance of findings, attitudes and images admirable never wavered.
In Keaton, the skin has completely disappeared under the mask became the face
Sylvain Coumoul article published in October 2005 "Le Monde"
The discovery of the Mechano "General" take immediate sensory experience. Any mechanism developed is switched into its smallest logical consequences. The viewer does not tremble in suspense: she gets to see his own predictions come true time. No, it is still no further now? This is a continuation in the process. No, after the round, he will not dare to return? Yes, yes: the outward and return.
This linearity in both directions does not laugh, but rather, it is of wonder. This is a body of a gymnast who does mathematics, and a network of lines, straight lines, curves, transverse, parallel, which reinvents the philosophy of emptiness. And when in the 35th minute, the near-center of the film, Blaise Pascal, sorry, Buster Keaton applies his eye to the hole in a sheet with a cigarette burning being done, then? It is grafted film on the face, even to the flesh and without anesthesia.
The idea comes from Pierre Michon in Body King (ed. Verdier, 2002): The genius is one who speaks from behind a mask, so strongly that he can not sewn remove. Seemingly impassive, but "rage behind the mask of wood." Chaplin could wince at ease. For Tati is more difficult, we feel that tug at the seams. In Keaton, the skin has definitely gone now face under the mask. But unlike Flaubert or Beckett, which Michon bases his demonstration, the director-actor walks in the same work his large coil graft.
Then the screen shows the king's two bodies, the eternal and the mortal. Who do we see exactly? Johnnie the mechanic, with efforts to get mad locomotive and fiancee, or the filmmaker Buster launched in pursuit of absolute film? Both, sir. And it's crazy. Embedded in the War of Secession, Johnnie -Buster engaged to work opposite of fusion. The real resistance, there are the laws of gravity, the collective fury, the intense stupidity the bride, injustice, hierarchy, the law with his two body, her round trip rail and big-eye film in the middle, Keaton work to reshape the impure perfection filmed.
Fools, the risks Johnnie an idiot? Insane especially the risks Keaton, in our view that contemporary viewers know more: commercial failure, alcoholism, prolonged neglect, and forty more years to live with the mask on the face.
The General (vo beautiful ambiguity of the title, both name and locomotive Ironically possible designation of a "value" military) does not merely double, to merge body and gestures: he plays with their meaning, until dizzy. "Do not come back to me as you do not wear the uniform," said Annabelle to Johnnie , without suspecting that it will carry the wrong prediction, by necessity have endorsed the holding of the enemy. On this principle of perpetual reversal, all accomplished: party to strangle Annabelle, he kisses her. Party to give an order, a gesture of the sword more or less credible, he loses his sword and kill with precision. And so on, until hello military diversion final injunction to mean "break up".
At the height of his system, Keaton even turn the sock burlesque, such coy who agrees to appear in a delicate position (falls, accidents) to better suggest its consummate art of acrobatics. Here on the contrary, whenever the mechanic managed a feat really, its second body acting, that of the filmmaker, has recalled more than humility: none scuba diving or cons to magnify the feat. Filming instead strictly aligned, since an express train at the same speed on a highway twin abstract in silhouette while the acrobat, schematically performance moderates quietly show.
Action film big-budget The Mechanic provides a laminated meaning also announces anti-cinema of Ozu or meditations Kiarostami. While Keaton raised an eyebrow when surprised intellectual cinephile began to venerate him the child of the circus. Should we believe in his innocence? In any case, when Johnnie , having hit a trunk, raises his hands in surrender, regardless of his mistake: he does allegiance to an enemy soldier the un arbre, il coupable plaid. De tout et de rien. Coupable of solitude.
Sylvain Coumoul article published in October 2005 "Le Monde"
The discovery of the Mechano "General" take immediate sensory experience. Any mechanism developed is switched into its smallest logical consequences. The viewer does not tremble in suspense: she gets to see his own predictions come true time. No, it is still no further now? This is a continuation in the process. No, after the round, he will not dare to return? Yes, yes: the outward and return.
This linearity in both directions does not laugh, but rather, it is of wonder. This is a body of a gymnast who does mathematics, and a network of lines, straight lines, curves, transverse, parallel, which reinvents the philosophy of emptiness. And when in the 35th minute, the near-center of the film, Blaise Pascal, sorry, Buster Keaton applies his eye to the hole in a sheet with a cigarette burning being done, then? It is grafted film on the face, even to the flesh and without anesthesia.
The idea comes from Pierre Michon in Body King (ed. Verdier, 2002): The genius is one who speaks from behind a mask, so strongly that he can not sewn remove. Seemingly impassive, but "rage behind the mask of wood." Chaplin could wince at ease. For Tati is more difficult, we feel that tug at the seams. In Keaton, the skin has definitely gone now face under the mask. But unlike Flaubert or Beckett, which Michon bases his demonstration, the director-actor walks in the same work his large coil graft. Then the screen shows the king's two bodies, the eternal and the mortal. Who do we see exactly? Johnnie the mechanic, with efforts to get mad locomotive and fiancee, or the filmmaker Buster launched in pursuit of absolute film? Both, sir. And it's crazy. Embedded in the War of Secession, Johnnie -Buster engaged to work opposite of fusion. The real resistance, there are the laws of gravity, the collective fury, the intense stupidity the bride, injustice, hierarchy, the law with his two body, her round trip rail and big-eye film in the middle, Keaton work to reshape the impure perfection filmed.
Fools, the risks Johnnie an idiot? Insane especially the risks Keaton, in our view that contemporary viewers know more: commercial failure, alcoholism, prolonged neglect, and forty more years to live with the mask on the face.
The General (vo beautiful ambiguity of the title, both name and locomotive Ironically possible designation of a "value" military) does not merely double, to merge body and gestures: he plays with their meaning, until dizzy. "Do not come back to me as you do not wear the uniform," said Annabelle to Johnnie , without suspecting that it will carry the wrong prediction, by necessity have endorsed the holding of the enemy. On this principle of perpetual reversal, all accomplished: party to strangle Annabelle, he kisses her. Party to give an order, a gesture of the sword more or less credible, he loses his sword and kill with precision. And so on, until hello military diversion final injunction to mean "break up". At the height of his system, Keaton even turn the sock burlesque, such coy who agrees to appear in a delicate position (falls, accidents) to better suggest its consummate art of acrobatics. Here on the contrary, whenever the mechanic managed a feat really, its second body acting, that of the filmmaker, has recalled more than humility: none scuba diving or cons to magnify the feat. Filming instead strictly aligned, since an express train at the same speed on a highway twin abstract in silhouette while the acrobat, schematically performance moderates quietly show.
Action film big-budget The Mechanic provides a laminated meaning also announces anti-cinema of Ozu or meditations Kiarostami. While Keaton raised an eyebrow when surprised intellectual cinephile began to venerate him the child of the circus. Should we believe in his innocence? In any case, when Johnnie , having hit a trunk, raises his hands in surrender, regardless of his mistake: he does allegiance to an enemy soldier the un arbre, il coupable plaid. De tout et de rien. Coupable of solitude.
Extrait comment: The General Production: Luiz Carlos Barreto, Claude-Antoine, Glauber Rocha Viana Zelito et Musique: Marios Nobre
Photographie: Affonso Beato Montage: Edward Escorel
Decors: Glauber Rocha, Hélio Eichbauer, Paulo Lima Paulo Gil Soares et 
: Brésil Format: Couleurs - Mono
Durée: 100 minutes Date de sortie
: 1969
Distribution:
Maurice Valle, Antonio das Mortes
Odette Lara, Othon Bastos
Laura: L'instituteur
Carvana Hugo: Le commissaire Mattos
Jofre Soares: Colonel Horácio
Lorival Pariz: Coiran
Glauber Rocha, the apostle of third world
"I'm not ashamed to say that my films are produced by pain, hatred by love and not frustrated by the inconsistency of underdevelopment. " Thus Spake Glauber Rocha, the meteor of Brazilian cinema.
Florence Colombani article published in December 2006 "Le Monde"
Vitoria de Conquista
(Brazil
) Rocha receives a strictly religious education. After three years of law, he became a journalist and cultural shows real talent as a theorist. Feeling first short film and production, he directed his first feature film in 1962 . Barravento tells the story of a man trying to free the fishermen in his village of blind obedience to their religion. The film toured the festival and the admiration of
Alberto Moravia. In 1964 ,
Black God, White Devil
imposes
Rocha
as a leading filmmaker. Neglecting ostensibly classical narrative, the filmmaker blends allegory and philosophical naturalism style. The same year a military coup in Brazil has cut short the excitement of libertarian early 1960. Black God, White Devil marks the first appearance in the film Rocha the character of Antonio das Mortes , killer in the pay of landowners who will return in 1969 in the film Antonio das died in vigilante for the people.
Meanwhile, in
Genoa, Italy in , Rocha this as part of a symposium on the Third World, his manifesto The Aesthetics of Hunger. In 1967 , he realizes Earth trance the cornerstone of the Cinema Novo , the young Brazilian cinema that boasts its status as vehemently disowned and political struggle. In 1969 , Jean-Luc Godard films Rocha
in
Wind is a reflection on the revolutionary temptation.
Within his generation, Rocha differs from his comrades, Nelson Pereira dos Santos ( Drought , 1963 ) or Ruy Guerra (The Guns , 1965), by his taste for the flamboyant Baroque. The years 1970 see him carry out various adventures. The first is African, with the filming of the Congo Lion seven-headed, ambitious reflection on language aesthetics and politics of cinema that borrows Brecht and Godard
. The second is political: in 1978 , Rocha, who returned home after five years of exile, is a candidate for governor of the state of Bahia. His defeat leaves bruised. At the Venice Film Festival in 1980 His Age of the Earth is poorly received, and the filmmaker slips by treating Louis Malle ( Golden Lion for Atlantic City) "fascist". In 1981 , Glauber Rocha dies at the age of 42, leaving him ten feature films and a wealth of articles and books. A song of hope and freedom "Antonio das Mortes" makes the film its grandeur and magic, "Baby Yvonne wrote in the introduction to his criticism in" Le Monde Film Glauber Rocha, at its screening at Cannes Film Festival 1969 Yvonne Baby Story published in May 1969 "Le Monde"
is an amazing movie-inspired, freedom, wealth and lyricism. This romancero mixing the tragic and the sublime into the drama and opera, was the shock of the Festival. Shock revelation but not because its author, the Brazilian Glauber Rocha
Alberto Moravia. In 1964 ,
Black God, White Devil
imposes
Rocha
as a leading filmmaker. Neglecting ostensibly classical narrative, the filmmaker blends allegory and philosophical naturalism style. The same year a military coup in Brazil has cut short the excitement of libertarian early 1960. Black God, White Devil marks the first appearance in the film Rocha the character of Antonio das Mortes , killer in the pay of landowners who will return in 1969 in the film Antonio das died in vigilante for the people.
Meanwhile, in
Genoa, Italy in , Rocha this as part of a symposium on the Third World, his manifesto The Aesthetics of Hunger. In 1967 , he realizes Earth trance the cornerstone of the Cinema Novo , the young Brazilian cinema that boasts its status as vehemently disowned and political struggle. In 1969 , Jean-Luc Godard films Rocha
in
Wind is a reflection on the revolutionary temptation.
Within his generation, Rocha differs from his comrades, Nelson Pereira dos Santos ( Drought , 1963 ) or Ruy Guerra (The Guns , 1965), by his taste for the flamboyant Baroque. The years 1970 see him carry out various adventures. The first is African, with the filming of the Congo Lion seven-headed, ambitious reflection on language aesthetics and politics of cinema that borrows Brecht and Godard . The second is political: in 1978 , Rocha, who returned home after five years of exile, is a candidate for governor of the state of Bahia. His defeat leaves bruised. At the Venice Film Festival in 1980 His Age of the Earth is poorly received, and the filmmaker slips by treating Louis Malle ( Golden Lion for Atlantic City) "fascist". In 1981 , Glauber Rocha dies at the age of 42, leaving him ten feature films and a wealth of articles and books. A song of hope and freedom "Antonio das Mortes" makes the film its grandeur and magic, "Baby Yvonne wrote in the introduction to his criticism in" Le Monde Film Glauber Rocha, at its screening at Cannes Film Festival 1969 Yvonne Baby Story published in May 1969 "Le Monde"
is an amazing movie-inspired, freedom, wealth and lyricism. This romancero mixing the tragic and the sublime into the drama and opera, was the shock of the Festival. Shock revelation but not because its author, the Brazilian Glauber Rocha
, we already knew two of his films, Black God, White Devil and Earth in a trance, projected
Cannes, one in 1964
and the other in 1967 . Show total performance, dramatization voluntarily and just bust the myths and realities of Brazil, Antonio das Mortes is a natural - and somehow the synthesis - the Black God, White Devil and terrestrial trance. Reflection
Rocha
is, this time from a story related to a tradition, popular culture and, of course, illuminates the present situation of Latin America. Famous "Killer Cangaceiros" Antonio das Mortes is called by the
coronel
(landowner who reigns over the region) to repress the revolt
beatos
, Poor peasants oppressed sertao whose primitive mysticism is embodied by a woman, "holy", sharing their lives. Around the coronel blind and guided by his valet spy Batista, there is his wife, a priest, a police superintendent, a teacher that the disenchantment and cowardice lead to alcoholism. Among beatos , a young man, ardent, Coiran , tries to lead the uprising to continue fighting the outlaw leader
Lampiao
, who died heroically. Antonio das Mortes will have to kill
Coiran
, as he had murdered Lampiao . What he will do in a duel punctuated by clapping and singing ( macumba ) farmers involved somehow as the chorus of a tragedy. "The day will come eventually Coiran obedience, and if he dies the rest of the people die of poverty," say " beatos " that will soon join Antonio das Mortes following a personal crisis and bloody events. This knight in the service of power and a cause, basically, lost, solitary cape, hat and dark boots, including the massive silhouette looming on the horizon of sertao
haunt our memory, no longer accepts injustice, humiliation, suffering and, on the other hand, the corruption and cruelty. It goes to the camp where his conscience leads him, he dissociated himself completely from the repression organized by the
coronel with the support of killers. He carries himself body Coiran - arms outstretched against a tree, the outlaw evokes Christ - and the massacre of peasants, he meets with arms (...) to avenge his new companions. Then, still alone, he resumed where it crosses the road - signs of "civilization" - trucks, cars, buses. Behind him, he left the sole survivor of beatos , a Black who, riding with the "holy" (the image is startling), is led by the priest carrying a rifle slung over his shoulder. In O Dragão da maldade contra o Santo Guerreiro (" The Dragon of Rage against the holy warrior ", original title of Antonio das Mortes ), the warrior, the Black; Rocha
was inspired by the myth of St. George
, very popular in Brazil
. Cinema Action as much as stylization - and require any epic, every legend - This movie moves and captivates with its beauty, its strength. And if the color is so important is that it has an active role, regardless of its aesthetic function. One could say that the white of purity (the "holy") contrasts with the black tragedy and with the red of violence, violence that may offend some but that traditionally exists in this country. Moreover, what is striking is that here the blood gives us the feeling of truth and that the rebellion in its anarchy, its wildness, expressing a desire for social change, political, historical. Antonio das Mortes because is for an entire people, a song of hope and freedom.
The endless war Cyril Béghin article appeared in the "Cahiers du Cinema " Read: The Century of Cinema
of Glauber Rocha , ed. Yellow Now
"Here Rocha
is, this time from a story related to a tradition, popular culture and, of course, illuminates the present situation of Latin America. Famous "Killer Cangaceiros" Antonio das Mortes is called by the
coronel
(landowner who reigns over the region) to repress the revolt
beatos
, Poor peasants oppressed sertao whose primitive mysticism is embodied by a woman, "holy", sharing their lives. Around the coronel blind and guided by his valet spy Batista, there is his wife, a priest, a police superintendent, a teacher that the disenchantment and cowardice lead to alcoholism. Among beatos , a young man, ardent, Coiran , tries to lead the uprising to continue fighting the outlaw leader
Lampiao
, who died heroically. Antonio das Mortes will have to kill
Coiran
, as he had murdered Lampiao . What he will do in a duel punctuated by clapping and singing ( macumba ) farmers involved somehow as the chorus of a tragedy. "The day will come eventually Coiran obedience, and if he dies the rest of the people die of poverty," say " beatos " that will soon join Antonio das Mortes following a personal crisis and bloody events. This knight in the service of power and a cause, basically, lost, solitary cape, hat and dark boots, including the massive silhouette looming on the horizon of sertao
haunt our memory, no longer accepts injustice, humiliation, suffering and, on the other hand, the corruption and cruelty. It goes to the camp where his conscience leads him, he dissociated himself completely from the repression organized by the
coronel with the support of killers. He carries himself body Coiran - arms outstretched against a tree, the outlaw evokes Christ - and the massacre of peasants, he meets with arms (...) to avenge his new companions. Then, still alone, he resumed where it crosses the road - signs of "civilization" - trucks, cars, buses. Behind him, he left the sole survivor of beatos , a Black who, riding with the "holy" (the image is startling), is led by the priest carrying a rifle slung over his shoulder. In O Dragão da maldade contra o Santo Guerreiro (" The Dragon of Rage against the holy warrior ", original title of Antonio das Mortes ), the warrior, the Black; Rocha
was inspired by the myth of St. George
, very popular in Brazil
. Cinema Action as much as stylization - and require any epic, every legend - This movie moves and captivates with its beauty, its strength. And if the color is so important is that it has an active role, regardless of its aesthetic function. One could say that the white of purity (the "holy") contrasts with the black tragedy and with the red of violence, violence that may offend some but that traditionally exists in this country. Moreover, what is striking is that here the blood gives us the feeling of truth and that the rebellion in its anarchy, its wildness, expressing a desire for social change, political, historical. Antonio das Mortes because is for an entire people, a song of hope and freedom. The endless war Cyril Béghin article appeared in the "Cahiers du Cinema " Read: The Century of Cinema
of Glauber Rocha , ed. Yellow Now
explodes
endless war," said the saint of the people slowly, in a white dress to A
ntonio das Mortes the killer
Cangaceiros . This virgin oracle speaks of a never-ending battle to resume, that of Dragão da contra o Santo Guerreiro maldade , the "Dragon malice against the Holy warrior ", as announced the original title: bloodless struggle of a people against those who oppress them, and here in the Brazilian context, the struggle of the peasantry, defended by Cangaceiros
facing landowners and their killers. But she talks as much of the film litany loud, harsh landscape planted with streamers, exploding infinite alternating long and quiet beaches as hieratic as the plains of the Northeast with violent upheavals color (the first color film
Glauber Rocha ) and audio (walks of Sergio Ricardo
stand alongside modern composer Marlos Nobre ). And holy is also, finally, the legendary voice of destiny of Antonio das Mortes
, character created by Rocha in Black God, White Devil ( 1964), but that history would not abandon this one movie. Antonio himself, gross weight in long coat, slow, gloomy, as is stunned to find themselves there again, gun in hand, still have to kill an outlaw - he thought the White Devil was "the last ", and that times had changed. But the time never change very much at home Rocha, as evidenced by 1980 the great carnival and the archaic title of his latest film: The Age of earth. Myths are older than humanity, "as in f ROTHERS Light, the Cinema Novo
each film starts from zero, stammering an alphabet tragically brutal means" underdeveloped civilization "( Rocha in his book Revolução do Cinema Novo ). The endless war is also the endless agony of Coiran outlaw who once ripped by Antonio das Mortes , moving from a village square in the crevice giant of a mountain then the mountain to the arid expanse of the hinterland . Three places sparkle three faces of the powerful syncretic style Rocha, constant alternation between distancing theater, precision choreography long clips, savagery or trance rituals and parades captured by a camera and a moving mount abrupt. If sometimes brutal, the Alphabet Rocha is singularly rich. The stage on the village square or in nature, hubris People on the street or mountain, modern staging, with its empty spaces and temporalities elastic, open sertão or in the house of colonel : Antonio das Mortes
wins it all in one great big movement, which marks the triumph of hybridization to both a culmination and a renaissance in the work of
Rocha. The agony of
Coiran crosses, without ostentation, the diversity of staging, because it holds the secret to breaking the filmmaker: films following Rocha, Cancer of unknown ( 1968-1972) to The Age
earth, through Claro (1975) or the sublime short film Di Cavalcanti ( 1977), are among the freest in the cinema years 1970. Brazil's dictatorship and exile applying his program to a "cinema Tricontinental", he works
Cuba, the Congo in Spain, in Italy , and seems to make each of its new film tributes to his brothers or uncles filmmakers: Buñuel, Pasolini , Godard, which integrates and recycles imagery or places within his own style. Rocha devours film, and, simultaneously, Antonio das Mortes travel with him through films: the western Italian resumed its silhouette (Sergio Leone was withheld from black God), Fassbinder tribute (a lookalike in German The Trip to Niklashausen in 1970 ). Antonio das Mortes and is, for some time, became a myth beyond the film, bringing the endless war going wherever his image, while the warrior Rocha fought on all fronts of the film.
Preview: Antonio das Mortes (1969) Glauber Rocha
(Duration: 1 min 42 sec)
facing landowners and their killers. But she talks as much of the film litany loud, harsh landscape planted with streamers, exploding infinite alternating long and quiet beaches as hieratic as the plains of the Northeast with violent upheavals color (the first color film
Glauber Rocha ) and audio (walks of Sergio Ricardo
stand alongside modern composer Marlos Nobre ). And holy is also, finally, the legendary voice of destiny of Antonio das Mortes
, character created by Rocha in Black God, White Devil ( 1964), but that history would not abandon this one movie. Antonio himself, gross weight in long coat, slow, gloomy, as is stunned to find themselves there again, gun in hand, still have to kill an outlaw - he thought the White Devil was "the last ", and that times had changed. But the time never change very much at home Rocha, as evidenced by 1980 the great carnival and the archaic title of his latest film: The Age of earth. Myths are older than humanity, "as in f ROTHERS Light, the Cinema Novo
each film starts from zero, stammering an alphabet tragically brutal means" underdeveloped civilization "( Rocha in his book Revolução do Cinema Novo ). The endless war is also the endless agony of Coiran outlaw who once ripped by Antonio das Mortes , moving from a village square in the crevice giant of a mountain then the mountain to the arid expanse of the hinterland . Three places sparkle three faces of the powerful syncretic style Rocha, constant alternation between distancing theater, precision choreography long clips, savagery or trance rituals and parades captured by a camera and a moving mount abrupt. If sometimes brutal, the Alphabet Rocha is singularly rich. The stage on the village square or in nature, hubris People on the street or mountain, modern staging, with its empty spaces and temporalities elastic, open sertão or in the house of colonel : Antonio das Mortes
wins it all in one great big movement, which marks the triumph of hybridization to both a culmination and a renaissance in the work of
Rocha. The agony of
Coiran crosses, without ostentation, the diversity of staging, because it holds the secret to breaking the filmmaker: films following Rocha, Cancer of unknown ( 1968-1972) to The Age earth, through Claro (1975) or the sublime short film Di Cavalcanti ( 1977), are among the freest in the cinema years 1970. Brazil's dictatorship and exile applying his program to a "cinema Tricontinental", he works
Cuba, the Congo in Spain, in Italy , and seems to make each of its new film tributes to his brothers or uncles filmmakers: Buñuel, Pasolini , Godard, which integrates and recycles imagery or places within his own style. Rocha devours film, and, simultaneously, Antonio das Mortes travel with him through films: the western Italian resumed its silhouette (Sergio Leone was withheld from black God), Fassbinder tribute (a lookalike in German The Trip to Niklashausen in 1970 ). Antonio das Mortes and is, for some time, became a myth beyond the film, bringing the endless war going wherever his image, while the warrior Rocha fought on all fronts of the film.
Preview: Antonio das Mortes (1969) Glauber Rocha
(Duration: 1 min 42 sec)
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