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THOMAS M. KAVANAGH
STATEUNIVERSITYOF NEW YORKAT BUFFALO
Imperialismand the
Revolutionary Cinema: Glauber
Rocha's Antonio-das-Morte
ITSEEMS,
paradoxically, that the highest compliment American film-
critics can pay to a genuinely Third-Worldcinema is their bewilder-
ment. That a film be recognized as Brazilian(or Chinese or Senegal-
ese) implies that, in more than its choice of subject matter and
location, it has broken away from and exists outside of a cinematic
esthetic rooted in the basically imperialistic conventions of "art"
and even of "meaning"to which we are accustomed. Bewilderment
is, however, a dangerous and always transitionalmental state. Intel-
lectual malaise (especially for the "critic"whose job-function-value
is the translation of the different into the language of the same)
rarely leads to the perhaps ideal state of cross-cultural objectivity
from which a valid consideration of differences can begin.
Few patently excellent films have suffered so unjustly for this al-
legiance to their origins as Glauber Rocha's Antonio-das-Mortes.
Released here toward the end of 1969, its short art-house run was
heralded either by summarydismissal in the popular press or rather
more convoluted reprimands from the serious journals. The film
tells the story of a hired-gun (a jagunco) who ends up replacing the
outlaw turned peasant leader (the cangaceiro) whom the rich have
brought him in to kill. Such a subject was bound to evoke in the
minds of its Americanviewers the problem of "revolution,"that al-
most automatic connotation of the Third-Worldcinema which was,
in fact, the most popular point of access for serious discussion of
the film. Such criticism-even when centered on so un-Americana
topic as "revolution"-becomes inevitably the vehicle of a devious
but nonetheless total form of cultural imperialism.This tendency
took its most intelligent form in ErnestCallenbach'sanalysis reveal-
201
202 THOMAS M. KAVANAGH
'Ernest Callenbach, Film Quarterly, XXIII (Fall/Winter 1969-1970), 42-47. Subsequent references are
made in the text.
ANTONIO-DAS-MORTES 203
2Gordon Hitchens, "The Way to Make a Future: A Conversation with Glauber Rocha," Film Quarterly,
XXIV(Fall 1970), 27.
'Michel Delahaye, Pierre Kast, and Jean Narboni, "Entretien avec Glauber Rocha," Cahiers du Cinema,
No. 214 (July/August 1969), pp. 22-40.
ANTONIO-DAS-MORTES 205
'Hitchens, p. 28.
'Hitchens, p. 30.
6Delahaye, et. al., p. 24. All translations from this article have been made by the author.
206 THOMAS M. KAVANAGH
that he realizes his absolute alienation not only from that role, but
also from that society. The death of the self is the simultaneous
rebirth of the self. Coirana bleeds and dies only to be miraculously
resurrected in the lament he sings from the mountain amphitheatre.
He can never completely die in the same way that a particular act of
revolutionary consciousness is smashed only to be reborn in the
further actions of those whom it inspires.
The killing of Coirana is the initiation of an existential hiatus, a
break in assigned and accepted roles, which is ended only with the
second ritual combat: that between Antonio and Mata Vaca, the
pompously opaque jagunco without a conscience, the Antonio of
thirty years ago. Defeating and killing Mata Vaca is the first act of
the new self: the killing of the old self. As a social force, as well as
an individual consciousness, Antonio has become the rejected im-
age of thirty years back. The initial act of pride, the sundering of self
from society, has been repaired.
It is between these two moments of diametrically opposed roles
(that of Dragon, that of Warrior Saint) that Antonio undergoes the
revolutionizing of his consciousness. It is significant that the cata-
lyzing agent of this process is the Santa: the central figure of the
mystical cult representing both syncretism and miscegenation. It is
first on the basis of physical resemblance that Antonio is able to
integrate his memories of the past with his present situation: the
Santa reminds him of a girl he knew in his youth, a girl who, after
being forced to whore for a living, ended by falling-sick with tu-
berculosis-into the river where she was eaten by piranhas. Antonio
carries Coirana's bleeding body back to the crowd, places it before
the Santa, and genuflects to kiss her foot. This scene is followed by
Antonio's pilgrimage to the shrine of the Santa who, identified with
nature, is seated beneath a tree in an open, uninterrupted plane.
The significance of this encounter is underscored by its presenta-
tion through a series of long, perfectly silent takes alternating be-
tween the immobile Santa and Antonio's halting approach. It is to
her that he can enunciate his confusion: "I have passed through ten
churches, but I have no patron." Then, in asking of the other, he
inquires only after himself: "I want to know if cangaceiros still ex-
ist." The Santa's only answer is the prophecy prefiguring the rest of
the film: "He who kills a brother will be cast to the bottom of the
seas. Be on your way, Antonio, and trod the burning paths of the
world begging forgiveness for your crimes." Later, it is at this same
ANTONIO-DAS-MORTES 209
tree, now with Coirana's Christ-like body fixed upon it, that An-
tonio is again visited by the Santa who symbolically rearms him
with the gun he will use to destroy Mata Vaca and his band.
It is at this point that Antonio's fate becomes properly tragic: as
the internal battle of the self is won through a politicized awareness
of the exterior, so also is the field of battle displaced from the indi-
vidual consciousness to the open-ended, tragic struggle to formu-
late a revolutionary praxis. The self has won its own spiritual unity
in transforming the struggle against its own schizophrenia into that
other battle against the much greater division of class domination
and exploitation. At the end of the film the town of lardim das Pi-
ranhas is left in the now reconciled hands of Blackman, Santa, and
priest. Antonio, condemned to tread the burning paths of the
world, can know neither home nor fulfillment. Our last image of
him is as he walks into the distance along a super-highway punc-
tuated by the signs of foreign exploitation (Shell Oil) and ruled over
by the cars carrying the agents of that exploitation. The burning
paths of revolution lead from this initial act defining Antonio's po-
litical consciousness to its alignment in the battle with that infini-
tely more complex dragon of the city: the seat and symbol of
exploitation, domination, and class division.
Rocha's films all turn around his understanding of the particularly
Brazilian relationship among three types of consciousness: the po-
litical, the revolutionary, and the mystical. The role of the Professor,
the local school teacher, helps clarify the fundamental distinction
between a political and a revolutionary consciousness. The Profes-
sor is the educated, intellectually adept idealist turned cynic as a
compensation for his inability to become independent of or to have
any effect upon his situation. He is an alcoholic who can muster up
just enough courage to bury the expendable Matos when he is mur-
dered by his master. His characteristic response to Mata Vaca's
mass-murder of the beatas is to flee the village. It is at the truck stop
on the road to the capital that Antonio, now the symbol of a nas-
cent revolutionary movement, finds him and carries him back to the
tree where Coirana's body is sprawled. In one of the film's most
forceful scenes, Antonio, holding the Professor's body crumpled
against his own, stares at Coirana while the revitalizing energy of
social commitment begins to flow, as it were, through him to the
body he so tenderly cradles. The image is of two faces which fill the
entire screen: one intense, eyes straight ahead on the icon of the
210 THOMAS M. KAVANAGH
said to me, "Ah! the fight, I remember, I know a song about it." Then
another old woman said, "I know another song." When she started
singing we were all set up to do the fight. At the same time some of
the actors started to move in time with the music, and I saw the whole
thing I j,st put the actors there, the characters in the film. This was
my only intervention. I was at the same time both a spectator and a
participant. Everybody found their places naturally. We did the whole
take and we didn't even have to cut; it was completely real, even the
moment when Antonio-das-Mortes wounds the cangaceiro: it was
they themselves who decided it."8
Thus the film-maker is also a revolutionary after the model of
Antonio. Glauber Rocha grew up in and knows intimately the
northeastern region of Brazilwhere Antonio's story takes place. In
the same way that the main charactercame to discover himself and
his revolutionary duty by understanding and loving the people
through his attempt to unify and direct their separated, dispersed
energies, so also has Rocha defined the function of the revolution-
ary film-makeras "an attempt to psychoanalyze the people to find
the sources of their energy and, by attempting to channel these
sources as artistic means, to analyze their true characteristics."9To
make a revolutionary film within Braziliansociety is to hold up a
mirrorto that society; but a mirrorwhich, through its form, be-
comes the communication of that message Antonio was able to act
upon only thirty years after his initial glimpse into the realityof his
self and of his society.
What then, to return to our initial question, is our position as
viewers from outside that society? What have we to learn from such
a film? Once again, I would say that we have first to learn an objec-
tivity: a readiness to allow this other to exist as other and likewise to
resist the basically imperialistic desire to anathematize it as but a
deviant and inadequate variantof the same. As we might hopefully
have learned to overcome our tendency to set ourselves up as the
world-policeman of democraticorthodoxy,so also mustwe recognize
and refuse the equally appealing and hardlydissimilartemptation to
invest ourselves now as the guardiansof revolutionaryorthodoxy. It
is as nothing other than a latter-dayStalinist that Callenbach is able
to proclaim of Antonio-das-Mortes:"This may be an interesting ap-
proach, but it is surely not a revolutionaryone" (p. 45). Colonialism
can find no more comfortable, no more unassailable disguise than
that of arbiterfor the elaboration of theoretically "adequate" anti-
colonialist models.