Queimada

Marlon Brando is just amazing in this intelligent film.Most people don't understand Brando's career choices during the sixties.But I think that as years go by,they will.His ideas were way ahead of his time.His talent and range were unbelievable.Every actor tries to imitate his intensity (deniro,penn,nolte,.....) with no success.Definitely the king of acting.

In the 1830's, the island of Quemada in the Antilles is a Portuguese colony - that is, until an English agent provocateur arrives and inspires the black slaves to rise and expel the colonial authorities. However, as is always the way with revolutions, a group of middle-class power brokers seizes political control and the people's aspirations are betrayed.

Ten years pass, and the sugar industry now requires peace and stability on Quemada. The continuing guerilla campaign by the dispossessed blacks is harming profits. The very same English adventurer is once more despatched to the island, this time to hunt down and eradicate the revolutionaries he created.

Marlon Brando plays Sir William Walker in his best Fletcher Christian English accent and a blonde wig with a life of its own. His is a thoughtful performance, putting across the complexity of the man, a character who is undoubtedly cynical and unscrupulous, but who is also an emotional man and something of a political philosopher. He is certainly effective at what he does.

The direction of Gillo Pontecorvo is somewhat erratic at times. There are points where the narrative is confused, and the gold robbery which drives the plot somehow got left on the cutting-room floor. Jose Dolores' rise to power is the most significant event in the story, but we see nothing of it. During the voodoo carnival, two of the participants are wearing 20th-century soccer shorts. The film's central pivot, the passage of ten years between Walker's two visits to the island, is handled very sketchily by means of a few incongruous London scenes and a voice-over narration.

But there are good things, too. When Santiago's widow hauls her husband's body away, the masonry of the fort stands as a silent metaphor of colonial power - harsh, overbearing and sterile. Brando has some fine speeches, musing on the nature of political legitimism. The fire scenes are visually arresting (though it would have sufficed to have two or three guerillas being shot as they emerged from the burning sugar cane: seven or eight is labouring the point), and Walker is positively luminous against the tortured black shapes of the charred forest, showing in symbolic form that this man thrives on the suffering of the blacks, and that destruction is his natural element.

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!")

This version (presently available on DVD and US release) is the edited one. Like so many foreign films at the time, was edited for "American audiences". Since the studio had the rights to the film, there was nothing Pontecorvo could do, but watch his masterpiece reduced to nothing. 22 minutes were cut. In addition the DVD version is very poor. The aspect ratio has been changed, and the copy is very poor. As a result of the cuts, the subtle undertones of the relationship between the main characters was altered, as well as the political undertones. Pontecorvo had already conceded the change of title and script change (Spanish island to Portuguese island) because Generalisimo Franco's protest, and his threat not to allow distribution in Spain. It's ashame that at this point the directors cut version is not available , at least as an alternative to the average viewer. It is available , in the Italian DVD . It's in Italian language, with Brando's voice dubbed. The dubbing in this case doesn't take away from Brando's performance (his personal favorite). It has English subtitles. Pontecorvo himself edited this version before his death. It's quality is much better, and has the original aspect ratio. Occasionally shown at art festivals. My rating applies to this version . The real masterpiece .

Queimada is a film I grew up with. I saw it for the first time in Kolkotta, India, in 1970. It's a film with one of the finest scores of Ennio Morricone and an ambiguous performance by Marlon Brando--that makes you wonder if the William Walker role is merely to be viewed as that of a mercenary. In my view, this is Brando's best performance. Recently, I found out that Brando himself stated this performance was "the best acting I've ever did" during a Larry King interview on CNN. It appears that his explanation on why he considered this was cut short by King, who evidently knew little about the film or the filmmaker. And so we will never know why Brando thought this was his best performance. But I think I can guess the reasons.

I have watched the film several times and loved Gillo Pontecorvo's direction of the scenes at the port, which are one of my favorite sequences in cinema. Pontecorvo wanted Brando to create an evil figure of "Sir" William Walker, who was a real person though not a British knight. He was an American mercenary who even went to Indo-China. Brando apparently argued with Pontecorvo that the character instead of a clear-cut evil figure should be more ambiguous and this led to major differences between the two. On viewing the film, it is evident Brando won the argument.

Franco Solinas, the screenplay writer, was a brilliant Leftist who contributed to Pontecorvo's success on "Battle of Algiers" and "Kapo." However, their films rankled the far Left and the far Right. Quiemada's script upset the Spanish government, and the filmmakers changed the details from a Spanish colony to a Portuguese colony. But Brando who probably was aware of the American connection of the lead character must have enjoyed the parallels of the story--knowing his personal love for the native Indian cause.

The film is a witty, cynical portrayal of colonial designs on impoverished poor. Sugar was the commodity in vogue then. A century later you could replace "sugar" with "oil." The film is replete with a brilliant speech penned by Solinas, spoken by Brando that begins by comparing the economics of having a wife versus a prostitute. He then ends the speech comparing the gains of a slave with that of hired labor. The political philosophy is unorthodox but hard hitting.

The visual effect of Brando's blonde hair and white clothes against the black natives is a visual metaphor. It is perhaps most anti-racist movie that I have seen with William Walker in all his glory unable to comprehend the political conviction and values of a native worker who refuses a chance to escape a cruel execution.

This film has a small but significant role for Italian actor Renato Salvatori.

I have seen hundreds of political movies--but this will remain my all time favorite. The film won Pontecorvo in 1970 the best director national award in Italy. The mix of Brando, Pontecorvo, Solinas, Salvatori and Morricone is a heady cocktail that will be a great experience for any intelligent viewer.