gavin6942 Eldorado, a fictitious country in Latin America, is sparkling with the internal struggle for political power. In the eye of this social convulsion, the jaded journalist Paulo Martins opposes two equally corrupt political candidates: a pseudopopulist and a conservative.Its exhibition was forbidden in Brazil in April 1967 for "tarnishing the image of Brazil" but after protests by both Brazilian and French filmmakers, it was authorized by the Brazilian government to be screened at Cannes and in Brazil. What image it is tarnishing is unclear to me, but but every country sees national pride differently.If any aspect of the film is singled out, it is typically the cinematography. In this case, it comes from Luiz Carlos Barreto, who is more generally known as a prolific producer rather than a cameraman. His best-known film is likely "How Tasty Was My Little Frenchman" (1971). Although he produced 50 films, he only acted as director of photography one other time -- on "Barren Lives" (1963).

tomgillespie2002 Following his fascinating portrayal of outlaw Antonio das Mortes and the dying days of banditry, Black God, White Devil (1964), Brazilian director Glauber Rocha - only 28 at the time - made the dazzling, deliberately contradictory and admittedly plodding Entranced Earth, a kaleidoscopic satire of politics in Latin America and the mad dictators who seemed to delight their people only to oppress them once elected. Filmed with the free-styling vigour of the French New Wave, Entranced Earth is often exhausting but consistently breathtaking.Told through the eyes of poet and journalist Paulo Martins (Jardel Filho), we first encounter him pleading angrily with governor Felipe Vieira (Jose Lewgoy) to fight back in the midst of a social uprising against his administration. We flash back to learn that they were once friends, with Paulo offering his support during the election process, only to see the the promises Vieira campaigned on go out the window as the people go hungry. Vieira's political opponent, conservative Porfirio Diaz (Paulo Autran), was also once Paulo's friend, and has spent his life in luxury away from public view until a chance to rule turns him into a raving, yet highly charismatic, lunatic.Entranced Earth is quite a confusing film. It strides along shifting back-and-forth in time and between various characters, and the kinetic, in-your-face camera-work makes it difficult at times to decipher just what the hell is going on. As a time capsule and a piece of experimental film-making, it is fascinating and deserves to have each of its frames pulled apart and analysed. It's a leftist view that is without any overt political statements, and instead seems to set out to capture the political counter-culture of the 1960's (or the demise of it). By setting it in the fictional country of Eldorado, Glauber avoids commenting on any country in particular, but is clearly making a statement about Latin America. It may leave you confused and worn- out by the end, but it's political cinema with both an edge and a sense of humour, and takes its technical influences from the greats of world cinema.

chaos-rampant I have seen one other film by this guy, Deus e o Diabo na Terra do Sol, and was completely taken aback at the time: Soviet notions of montage spilled helter skelter over the sunbaked Brazilian plains into the most deranged onslaught of rigorously polemic kitsch. Marx sloganeering via Brecht filmed by Eisenstein and Welles. You either bowed our early or agreed to be annihilated in the cinematic rave. This has more serious merit I believe, is more pensive, introspective work. Marx is puzzled over. Godard is stripped of hip and ironic complacency. Eisenstein is understood as more than blistering agitprop and in context of the new world the cinematic eye aspires to create. Is such a world worth the effort to materialize? And is it going to be as envisioned?I recommend it on just the principle that it's a political film promoting discussion, involvement, examination. This is a rare thing to have, especially these days when film consistently shies away from the great turmoils and viewers - understandably so - are becoming increasingly bitter and desensitized to any political involvement that may change the world. Oh we keep voting, but worst of all we have come to terms that it doesn't really matter which way we do, haven't we?No, this is political work from a time when it was still thought and anticipated that the world could be changed in one lifetime and film could be a tool to assist and herald change. The plot is about a young artist - poet and journalist - who will have to surmise his place and level of involvement in a complex narrative about a nation's past and future strife, the surrogate self of a filmmaker looking for the same.That narrative is every bit as 20th century Latin American history has affirmed it. On one side there is flag, cross, the capital, the military-secret service complex, bureaucracy, control over state media, counter-revolution. On the other side there are workers' rights, agrarian reforms, redistribution of wealth, democracy, populism, propaganda, socialist rhetorics, the world revolution. The two sides compete for the gubernatorial elections of a fictional county called El Dorado, after the mythical 'Lost City of Gold' that obsessed conquistadors. The modern El Dorado is poor and downtrodden, its people meek and submissive, but still a coveted land for conquest and control. Oil, coal, diamonds, uranium, these are the new riches of mythical proportions.All told, it's not really hard to discern who is the main recipient of Marxist ire here. Rocha gleefully tears through caricatures but moves on to make another point. Are the latter really ready and able to govern? Do they have a plan beyond bold proclamations? Are they backed by less insidious corporate interests?Naturally our young poet is puzzled, having been involved with both parties. The film mirrors this inner strife: a non-linear narrative fragmented through many visual cut-ups, hand-held shots, New Wave dissonance, artificiality, internal landscape, poetry recitations, theatrical grandiloquence. Not all of it works, but it's translucent when it does.As far as political-minded New Wave goes, I believe this has near as much merit as the films of Yoshishige Yoshida from Japan, Eros+Massacre and Heroic Purgatory. Politics of the region are more complex and subtle than Rocha delves into. Shucks. A key insight into what this is, is the framing device: a dream of delirious death.

MR 17 Although this film is not so perfect as it is normally stated, it is a very important film neverthless. In Brazil, it's usually a case of "love it or hate it" as regards to this film. It may not be perfect, but it is impressive, and shows efficiently political corruption and the degradation of one's soul as well. Although somewhat confused in some moments, the film is packed with great scenes, and is always visually impressive. It also had the merit of discussing Brazil's problems at the time, using fictional "Eldorado" as a shield against the strong censorship applied in these days. Has it's place guaranteed in brazilian cinerama.