{"id":85439,"date":"2022-07-13T00:27:20","date_gmt":"2022-07-13T07:27:20","guid":{"rendered":"https:\/\/filmfanatic.org\/?p=85439"},"modified":"2022-07-13T00:27:20","modified_gmt":"2022-07-13T07:27:20","slug":"antonio-das-mortes-1969","status":"publish","type":"post","link":"https:\/\/filmfanatic.org\/?p=85439","title":{"rendered":"Antonio das Mortes (1969)"},"content":{"rendered":"<p><strong>&#8220;God made the world; the devil made the barbed wires.&#8221;<\/strong><\/p>\n<table>\n<tr>\n<td>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-das-Mortes-Poster.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-das-Mortes-Poster-217x300.png\" alt=\"\" width=\"217\" height=\"300\" class=\"alignleft size-medium wp-image-85440\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-das-Mortes-Poster-217x300.png 217w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-das-Mortes-Poster-93x128.png 93w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-das-Mortes-Poster-195x270.png 195w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-das-Mortes-Poster.png 696w\" sizes=\"auto, (max-width: 217px) 100vw, 217px\" \/><\/a><\/p>\n<p><strong>Synopsis:<\/strong><br \/>\nA Brazilian outlaw known as Antonio das Mortes (Mauricio do Valle) is hired by a corrupt police chief (Hugo Carvana) to kill a revolutionary known as Coirana (Lorival Pariz), but eventually has a change of heart and tries to convince a blind, wealthy landowner (Joffre Soares) with an unfaithful wife (Odete Lara) to distribute his food to the masses.\n<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>\n<strong>Genres, Themes, Actors, and Directors:<\/strong><\/p>\n<ul>\n<li>Hit Men<\/li>\n<li>Revolutionaries<\/li>\n<li>South and Central American Films<\/li>\n<\/ul>\n<p><strong>Response to Peary&#8217;s Review: <\/strong><br \/>\nPeary writes that this &#8220;major work of Brazil&#8217;s Cinema Novo&#8221; &#8212; a &#8220;myth-epic&#8221; &#8212; was &#8220;a very popular film among U.S. and European leftists at the time of [its] release.&#8221; He describes it as a &#8220;political allegory&#8221; that &#8220;is both extremely theatrical and, at times ritualistic&#8221;: <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still2.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still2.png\" alt=\"\" width=\"1027\" height=\"729\" class=\"alignnone size-full wp-image-85444\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still2.png 1027w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still2-300x213.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still2-1024x727.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still2-128x91.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still2-768x545.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still2-380x270.png 380w\" sizes=\"auto, (max-width: 1027px) 100vw, 1027px\" \/><\/a><\/p>\n<p>&#8230; and points out that viewers will &#8220;be reminded of Sergio Leone&#8217;s Clint Eastwood bounty-hunter films, Eastwood&#8217;s [non-<em>GFTFF<\/em>-listed] <em>Joe Kidd<\/em> (in which he turns against the men who hired him), <em>El Topo<\/em> (the bearded Do Valle looks like a fat Alexandro Jodorowsky), Godard (if he ever made a period piece, it would be similar), and South American dance, folkloric, and religious pageants.&#8221; <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-das-Mortes-Ritual.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-das-Mortes-Ritual.png\" alt=\"\" width=\"1033\" height=\"730\" class=\"alignnone size-full wp-image-85445\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-das-Mortes-Ritual.png 1033w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-das-Mortes-Ritual-300x212.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-das-Mortes-Ritual-1024x724.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-das-Mortes-Ritual-128x90.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-das-Mortes-Ritual-768x543.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-das-Mortes-Ritual-382x270.png 382w\" sizes=\"auto, (max-width: 1033px) 100vw, 1033px\" \/><\/a><\/p>\n<p>Peary argues that while the &#8220;picture is ambiguous at times and downright weird at others,&#8221; it&#8217;s &#8220;endlessly fascinating and colorful&#8221; and features &#8220;fine photography.&#8221; Martin Scorsese is also a diehard fan; on YouTube you can find a 25 minute interview of him discussing this movie and the impact it&#8217;s had on him as a filmmaker. <\/p>\n<p>I&#8217;m less impressed. While it&#8217;s easy to see how movie lovers in the late 1960s would hail director Glauber Rocha&#8217;s flick &#8212; a sequel to his earlier <em>Black God, White Devil<\/em> (1964) &#8212; for its bold break from stylistic and narrative conventions, it&#8217;s more of a political and cinematic curiosity today. With that said, film fanatics will still likely be curious to check out either this film, <em>Black God, White Devil<\/em>, or the middle film in Rocha&#8217;s &#8220;trilogy&#8221;, <em>Entranced Earth<\/em> (1967) (the latter two titles are listed in <a href=\"https:\/\/filmfanatic.org\/?page_id=1458\"><em>1,001 Movies You Must See Before You Die<\/em><\/a>). <\/p>\n<p><strong>Notable Performances, Qualities, and Moments: <\/strong><\/p>\n<ul>\n<li>Affonso Beato&#8217;s cinematography<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still.png\" alt=\"\" width=\"1025\" height=\"731\" class=\"alignnone size-full wp-image-85442\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still.png 1025w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still-300x214.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still-128x91.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still-768x548.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2022\/07\/Antonio-Das-Mortes-Still-379x270.png 379w\" sizes=\"auto, (max-width: 1025px) 100vw, 1025px\" \/><\/a><\/li>\n<\/ul>\n<p><strong>Must See? <\/strong><br \/>\nNo, though it&#8217;s recommended for its historical relevance. <\/p>\n<p><strong>Links: <\/strong><\/p>\n<ul>\n<li><a href=\"https:\/\/www.imdb.com\/title\/tt0064256\/\">IMDb entry<\/a><\/li>\n<li><a href=\"https:\/\/timesmachine.nytimes.com\/timesmachine\/1970\/04\/03\/83656591.html?pageNumber=42\">NY Times Original Review<\/a><\/li>\n<li><a href=\"https:\/\/www.thespinningimage.co.uk\/cultfilms\/displaycultfilm.asp?reviewid=9168&#038;aff=13\">Spinning Image Review<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;God made the world; the devil made the barbed wires.&#8221; Synopsis: A Brazilian outlaw known as Antonio das Mortes (Mauricio do Valle) is hired by a corrupt police chief (Hugo Carvana) to kill a revolutionary known as Coirana (Lorival Pariz), but eventually has a change of heart and tries to convince a blind, wealthy landowner (Joffre Soares) with an unfaithful wife (Odete Lara) to distribute his food to the masses. Genres, Themes, Actors, and Directors: Hit Men Revolutionaries South and&#8230;<\/p>\n<p class=\"read-more\"><a class=\"btn btn-default\" href=\"https:\/\/filmfanatic.org\/?p=85439\"> Read More<span class=\"screen-reader-text\">  Read More<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-85439","post","type-post","status-publish","format-standard","hentry","category-responses-to-peary"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/85439","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=85439"}],"version-history":[{"count":10,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/85439\/revisions"}],"predecessor-version":[{"id":85454,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/85439\/revisions\/85454"}],"wp:attachment":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=85439"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=85439"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=85439"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}