Terra em Transe

"Terra em Transe" (in Portuguese, "Terra" means "Land"; "Transe" has quite some meanings, like "Anguish", "Risk", "Trance", "Transience") is Glauber Rocha's most important film along with his earlier masterpiece "Deus e o Diabo na Terra do Sol" (1964). In "Terra", we see best his cinematic assets (boldness, experimentalism, confrontational non-conformity, red-blooded vibrancy, great and original visual style) and faults (grandiloquence, contradictoriness, verbosity, technical shortages). The main character of the film is his own country, Brazil, and by extension Latin America, amalgamated into the fictional country of Eldorado (the mythical South American dreamland pursued by European explorers in the 16th and 17th centuries).

The films uses avant-garde, fragmented, non-chronological narration and editing because we are witnessing the random thoughts and memories of a dying man (though this is not clear until half-way into the film). That man is the "Artist", Paulo Martins (Jardel Filho at his best), a poet (hence capable of transcending immediacy, materialism and greed) and journalist (hence a man of his time, capable of connecting to reality). Paulo is caught in a paralyzing personal, political and ethical crisis: what's the role of Art and Artists (especially cinema and filmmakers) in the Third World in the 1960s? Apparently, to serve as a sort of Socratic "light" (ethically, sociologically, politically) against the obscurantist, alienating praxis of "Imperialist domination" in Latin America, since movies are a mass media more accessible to the public than theater, books, theses, specialized essays -- movies CAN reach poor, illiterate people. But artists should be aware they're paying a big personal price for their commitment with the "cause" (leftist cause, as it were).

The film poses a series of bold, difficult questions: why is political corruption ubiquitous and endemic in Latin America? Why and how do fascist leaders get legally elected? Why do fascist leaders always fascinate the "masses"? Is it because they speak what people want to hear or is it their power that fascinates people? Why are Latin fascists always connected with the Catholic Church? Is a demagogue better than a fascist? Are the "ignorant, unprepared working classes" ready to take power in their own hands? Do the "masses" want power to promote equality or do they aspire for the privileges of power? Once in power, will they turn down those privileges for the sake of a new political ethics? Is armed revolution more efficient than gradual conquest of civil and legal rights? Is any model of revolution "importable" (from the USSR, Cuba, etc)? Can the "new society" really be less autocratic and corrupt than the "old" one? No easy answers available, but good questions.

"Terra em Transe" is feverish, urgent, frantic, but not preachy or self-righteous: it's uncompromisingly dialectical and that's one of its best qualities. It's the work of a lucid, angst-filled, courageous 28 year-old filmmaker trying to think out the socio-political complexity of his own country and times, trying to make a contribution as an artist. Glauber boldly confronted censorship with his clear allusions to Brazilian military regime and the "subversive" revolutionary counter-actions that were beginning to take shape in 1967 and would explode in 1969 through the mid-1970s. The military censors vetoed the exhibition and distribution of "Terra...", eventually liberated because it was invited to compete at Cannes (where it won 2 prizes) and Locarno (where it triumphed as Best Film) and the military feared a negative international repercussion of the affair.

Some critics complained the film was incomprehensible and too allegoric; but the fact is that Brazil had gotten so complex by the late 60s that no simple traditional narrative could suffice. Glauber employs the Brechtian concept of building characters as archetypes behaving not as individuals but as symbols of their social class, origins and interests. Cinematically, the film was influenced by the Soviet revolutionary "montage" of Einsenstein/Dovzhenko, the French avant-garde of Vigo and Godard, the cinéma-vérité of Rouch, the unbound creative freedom of Buñuel. Dib Lutfi's hand-held camera is mesmerizing, dizzying, practically having a life of its own (and probably influenced by the outstanding Soviet cameramen Urusevsky and Calzatti). Luiz Carlos Barreto's bleached lighting creates diffuse backgrounds and unspecific landscapes of the invented "Eldorado" (and also helped solve budget limitations concerning locations). The all- star cast is committed and vital, acting at the top of their lungs -- Glauber was no fan of understatement or subtlety:)) The only terrible, embarrassing performance is that of non-actress socialite Danuza Leão, whose dialogs were all cut in post-production -- she poses here as a mute beauty.

Made as a fiction film, "Terra..." is also a testimony of the tense shift that Brazil (and the world) was going through in the mid-60s: utopia was breathing her last bittersweet breath. Today, "Terra..." can be seen both as a fiction film AND a historical document, despite (or because of) the fact that it's extremely symbolic, poetic, anti-naturalistic. Suddenly, you're aware of a time in History when a film -- a popular medium of artistic expression! -- was not afraid to raise and discuss political theses or use words like "patriarchalism", "imperialism", "conolialism", "masses" or "revolution" in dialog! To 21st century politically sanitized/fed-up audiences, "Terra..." can be quite an experience. Rocha's daring, confrontational, neck-gripping, thick-blooded art towers over the hordes of predictable, intellectually flaccid, ideologically boneless films of the 2000s.

This is compulsory viewing for anyone interested in Glauber Rocha and/or Brazilian/Latin-American political cinema. It can be confusing, loud and chaotic at times, but it's highly impacting and, most importantly, it urges you to think. It's a good companion piece to key "revolution" films of the mid-60s such as Rocha's own "Deus e o Diabo ...", Ruy Guerra's "Os Fuzis", Alea's "Memorias del Subdesarrollo", Solana's "La Hora de los Hornos", Bertolucci's "Prima della Revoluzione", Pasolini's "Uccellacci e Uccellini", Godard's "Le Petit Soldat", Pontecorvo's "La Battaglia di Algeri", Kalatozov's "Soy Cuba", etc (the list goes on and it's a GREAT list!). Don't watch it if you're not into political art or dislike experimental film-making.

In the hypothetical Latin-American country of Eldorado, the idealistic and anarchist poet and journalist Paulo Martins (Jardel Filho) fights against the populist governor, Felipe Vieira (José Lewgoy), and the conservative president Porfirio Diaz (Paulo Autran), supported by revolutionary forces. Paulo is depressed, since the two corrupt politicians were his former friends and have been elected with his moral support.

In 2005, "Terra em Transe" is dated, and has a confused screenplay, although being magnificently updated regarding the lack of ethics and the amoral behavior of the politicians. If the reader has had the opportunity of reading Machiavelli's "The Prince", he or she will see how the behavior of politicians remains unchanged along the centuries. However, keeping in mind that this is a 1967 movie, and Brazil was under a tough military dictatorship, this movie is a milestone in the history of Brazilian New Cinema. Glauber Rocha was very braze, discussing forbidden themes such as fight of classes, manipulation of the submissive masses by the elites, corruption in politician, anarchism, campaign promises not kept after the elections, economical power of foreign groups (or countries) in Latin American countries and coup d'état. In 1967, "Terra em Transe" was awarded with "Great Prize" in the Locarno Festival (Switzerland); "Luis Buñuel Prize" in Cannes Festival; "Federation of International Critics Prize" in Cannes Festival; and Best Movie of the Year in the Air France Prize, among other prizes. My vote is eight.

Title (Brazil): "Terra em Transe" ("Land in Anguish")

Released on Mr Bongo in 2005 "Terra em Transe" is dated, and has a confused screenplay, although being magnificently updated regarding the lack of ethics and the amoral behavior of the politicians. If the reader has had the opportunity of reading Machiavelli's "The Prince", you'll probably see how the behavior of politicians remains unchanged along the centuries.

However, keeping in mind that in this is movie Brazil was under a tough military dictatorship, this movie is a milestone in the history of Brazilian New Cinema. Glauber Rocha was very braze, discussing forbidden themes such as fight of classes, manipulation of the submissive masses by the elites, corruption in politician, anarchism, campaign promises not kept after the elections, economical power of foreign groups (or countries) in Latin American countries and coup d'état. In 1967, "Terra em Transe" was awarded with "Great Prize" in the Locarno Festival (Switzerland); "Luis Buñuel Prize" in Cannes Festival; "Federation of International Critics Prize" in Cannes Festival; and Best Movie of the Year in the Air France Prize, among other prizes

Another movie watched, or rather, reviewed, for the course on Cinema Novo that I'm doing in Cinema com Teoria, taught by Prof. Alisson Gutenberg.

Terra em Transe is part of the second phase of Cinema Novo. Directed by Glauber Rocha, it has an exquisite cast, all in fantastic performances: Jardel Filho (Paulo Martins), Paulo Autran (Porfírio Diaz), José Lewgoy (Felipe Vieira), Glauce Rocha (Sara), Paulo Gracindo (Don Julio Fuentes), Hugo Carvana (Álvaro), Joffre Soares (Father Gil), Danuza Leão (Sílvia), Mário Lago (Captain), Flávio Migliaccio (man of the people), Francisco Milani (Aldo).

To circumvent the censorship, which was still not as incisive as after the AI-5, Rocha set the plot in Eldorado, a fictional country located in Latin America. Porfírio Diaz, not by chance is the name of the Mexican dictator who has been in power for more than three decades, with a campaign theme that unites Catholic religion and conservatism, will run for reelection as president of Eldorado with Felipe Vieira, a populist politician. Paulo Martins is a poet who advised Porfírio, but changes sides when he realizes that he distances himself from popular agendas. Sara is his wife and balance point. It is in this political context that the story unfolds.

Glauber uses a lot of allegory to develop a plot that was a mirror of the situation experienced by Brazil, a few years after the 1964 military coup. As an allegory, it will explore situations reminiscent of a samba school parade: dancers and drums at a Felipe Vieira rally, luxurious costumes that portray the past of Eldorado, with the arrival of the white man on the country's coast (here there is a luxurious participation of Clóvis Bornay, icon of the costume parades in Rio de Janeiro), a lot of percussion in the soundtrack, in contrast with classical music, which makes a good distinction between the popular and the erudite, the flag bearer (in this case, Glauber subverts the order and puts a man, Porfírio, to carry a black flag - a sign of mourning for the situation in Brazil?, another allegory) and the parade itself with the walks of candidate Fellipe with the people.

The film also directly brings strong messages such as the scene in which Jerônimo, a representative of the people, starts to speak to Felipe, but is interrupted with Paulo Martins' hand in his mouth, saying that the people have no voice. The violence against those who demonstrated is also shown, and the most violent period of the Brazilian dictatorship had not even begun, in the scene in which the character of Flávio Migliaccio, purposely unnamed, is punched by the candidate's security (Maurício do Valle).

Another interesting contrast is between Carnival, as already exposed here, and Opera, once linked to the poorest strata of the population, to later become synonymous with the elite. The scene in which Porphyry falls with his flag on the steps of a palace is a true act of an opera.

The dialogues and monologues, especially those of Paulo Martins, are difficult to understand, with much erudition. And then Glauber didn't understand why his films didn't have an audience... Reviewing the film, I realized its relevance, especially regarding the political context in which Brazil plunged with the result of the 2018 election.

Despite all these considerations above, which I think are very appropriate, I don't like the film, much for its audio. The noise is annoying all the time, with overlapping voices, soundtrack and ambient sound, at a volume above normal. It is often difficult to understand what the actors are saying, and understanding the dialogues requires reflection at all times. For me, it was a lot of allegory inserted in the political context, which came to be caricatured. Anyway, I recognize the importance of the film for the history of Brazilian and Latin American cinema.

I know that most people will consider this opinion as heretics, but I think this a bad movie. Despite the good cinematography and the many great actors. The script is an undevelopped and confusing mess, partially in a hurry, partially simply shallow, exceding in its chaotic expressionist improvisation. It is pretensious but lacks deepness and a more sophisticated social political critique. Dialogs are just bad. Technically, sound is also quite flawed. Edition is unjustifiably harsh sometimes, with abrupt cuts. Many scenes are partially documental, as they were shot with few actors and many extras who were indeed common people who ignored that the situation was fictious (it may work but is moral questionable). The only really good part is the small segment in which there is a kind of mockumentary about Porfirio Diaz. To resume, "Enhanced earth" is world-wide celebrated but seriously overrated.