Queimada

Marlon Brando here perfects the portrayal of an upper class Englishman that he first essayed in Mutiny on the Bounty. His British agent, Sir William Walker, is patrician, duplicitous, sardonic, manipulative, charming - the embodiment of perfidious Albion. This exploration of colonialism is one of the better films Brando made in the sixties, if not the best. In it he was able to realise his long-expressed wish to make films of a serious, political nature and this one, which charts Britain's involvement in a Portugese colony in the Antilles during the mid 19th century, offers an unequivocally Marxist analysis of the struggle for freedom on the part of the black sugar cane workers. Gillo Pontecorvo, the Italian director, had previously made the much admired Battle of Algiers on the theme of French colonialism.

Walker is sent to the island of Queimada on two occasions in furtherance of British interests in the sugar trade. Initially he is employed by the Admiralty to incite a rebellion against the Portugese and install an independent government. Ten years later he returns, this time on behalf of a major sugar company, to destroy the rebel leader he himself has created.

Walker, however, is an ambivalent figure, only too aware of the contradictions in his nature. His stance is that of the professional who tries 'to do a job well, and to see it through'. At the same time, he admires Jose Dolores, the rebel leader, and is contemptuous of those not fighting alongside him. ('Why aren't you up there with them on the Sierra Madre?' he asks a bemused government soldier.) When his successful counter-insurrection leads to Jose Dolores' capture, Walker offers him the chance to escape execution, and is then puzzled by his refusal. As a man without political conviction, Walker cannot comprehend it in others.

The film is not without its flaws. Some fairly ruthless cutting leaves the plot difficult to follow on first viewing. The middle section, accounting for the intervening years in Walker's life, is unconvincing. If he is a disillusioned man, reduced to drinking and brawling (through self-loathing?) there is no sign of it on his return to Queimada. And whatever happened to his next assignment in, ironically, Indo-China?

The rest of the multi-national cast are no match for Brando, who has most of the dialogue and is seldom off screen. Jose Dolores, for example, is played by a young Colombian who had never seen a film before, let alone acted in one, and the imbalance between the two performances is all too evident. Pontecorvo orchestrates the big crowd scenes well, and they have the documentary feel of Battle of Algiers, but they cause the film to swing unevenly between action and ideas.

Making the film was apparently an unhappy experience for all concerned. Shot mainly in Colombia, working conditions were appalling with the cast and crew subject to illness, bad weather and threats of violence. With Italian, French, English and Spanish speakers involved, there were major problems of communication. Brando and Pontecorvo had different views on the main character - the director wanted him portrayed as an unmitigated force of evil while Brando pushed for more light and shade - and relationships between the two deteriorated rapidly. Filming was finally completed in Morocco after Brando, who was at a very low ebb in his life, walked off the set and threatened to quit the production altogether.

Despite its flaws, it remains a fascinating film, with a literate script, a strong anti-racist message and a central performance of great intelligence and wit. Why has it never been released on video in the UK?

Albert Oyahon (a previous review) seems to have said it all. This indeed is a deeply complex, gripping and deeply political film. For those who are used to simple moral tales it will seem confusing, uncomfortable even, but for those who relish the complexity of the human condition it is a challenging and thoughtful film. The number of truly outstanding political thrillers can be counted on the fingers of one hand (A Man For All Seasons and Z come to mind) but this ranks amongst the best. With the possible exception of On The Waterfront, it is difficult to think of a film in which Brando gave a better performance. He is outstanding as a complex political manipulator. The film also has qualities that arise only when different cultures (in this case Europe and The Americas) come together. To an intelligent filmgoer I cannot recommend this film too highly.

Most people have not seen this film and I think its a shame because its very interesting in a Costa Gavras sort of way. Brando is always fascinating to watch and this script gives him a chance to play the type of character you would come to expect from him. I have to warn you that he tries an english accent here and its not very good. I thought that Evaristo Marquez who isn't really an actor did a fine job and carried the film well when Brando wasn't on screen. Watching Brando use and manipulate Marquez like a pawn to instigate a revolt is both appalling and riveting to watch. Fascinating story is shot in an almost documentary style but the rough look of the film seems to enhance the story. Nothing glossy, but a hard look at a character with shameless motives. If you liked "Z" then you definitely will want to see this film.

In the Nineteenth Century, the cynical and pragmatic British agent William Walker (Marlon Brando) arrives in Queimada, a Portuguese colony in the Antilles, to promote a revolution and benefits the sugar trade with England. He finds in the water and luggage carrier José Dolores (Evaristo Marquez) the necessary potential to be the leader of the slave revolt, and the Portuguese troops are expelled from the island; then the provisional government of President Teddy Sanchez (Renato Salvatore) assumes the power with the support of the British government. Ten years later, William is hired by the Royal Company that is exploring the sugar cane plantations and the Queimada government to chase José Dolores that is disturbing the economical interests of England in sugar cane with his army of rebels.

It is impressive the timing of director Gillo Pontecorvo to make and release "Burn!". In 1969, the South America was under military dictatorships promoted by the United States of America to improve their economical and political interests in the region. There are many parallel situations in the colonization process between what was happening in South America in that historical moment and in the fictitious island of Queimada in the previous century. Marlon Brando performs one of the most Machiavellians characters of the cinema history and very similar to the American advisors that supported the foregoing dictatorships (despite not using torture). His character is fascinating as well as his political capability to envision the consequences of his actions; he is indeed the personification of the thoughts and concepts of Machiavelli in "The Prince". My only remark is the use of English language in a Portuguese colony; Mr. Pontecorvo should have casted actors that speak Portuguese to be more accurate. My vote is eight.

Title (Brazil): "Queimada!" ("Burn!")

One of the most under-rated films of all time. Marlon Brando is at his best playing the cool, witty Sir William Walker. The film is taut and fast paced. Add to this an intelligent script and beautiful scenery as well as an ironic political story and you have an excellent film. Brando carries the film in his portrayal of Sir William Walker, who is ready to play either side of the political struggle to satisfy his government's (Great Britain) needs. He is equally at ease with the rich upper class plantation owners as with the slave sugar cane cutters allowing him to take advantage of both. Where the film triumphs is in its ironic showing of how colonial powers will stop at nothing to get what they want no matter what the cost. Are the islanders of Queimada any better off as an independent country but relying on the British for trade, or as a colony of Portugal? Hard to say. The sugar cane cutters are no better off that's for sure. The musical score by long time Sergio Leone contributor Ennio Morricone captures very well the senselessness of the revolution as well as the fact that the slaves are just pawns in a much larger and dangerous game.Apparently the actor who plays Jose Dolores was an illiterate sugar cane cutter and had never even seen a film. Even with this handicap, he still manages to give the heroic Jose an air of dignity. It is nice to see a film that does not accept that everything is all right in the world and that such a trivial thing as having sugar for our tea, can have life and death consequences for so many people. A film not to be missed.