Black God, White Devil (1964)
Deus e o Diabo na Terra do Sol (1964)
A Film by Glauber Rocha
2xDVD9 (VIDEO_TS) | NTSC 4:3 (720x480) | 01:58:44 | 6,14 Gb + 6,59 Gb
Audio: Portuguese AC3 5.1/2.0 @ 448/192 Kbps | Subs: English, Portuguese, French, Spanish
Genre: Adventure, Crime, Drama | Brazil
A Film by Glauber Rocha
2xDVD9 (VIDEO_TS) | NTSC 4:3 (720x480) | 01:58:44 | 6,14 Gb + 6,59 Gb
Audio: Portuguese AC3 5.1/2.0 @ 448/192 Kbps | Subs: English, Portuguese, French, Spanish
Genre: Adventure, Crime, Drama | Brazil
Fictionalized account of the adventures of hired gunman Antonio das Mortes, set against the real life last days of rural banditism. The movie follows Antonio as he witnesses the descent of common rural worker Manuel into a life of crime, joining the gang of Antonio's sworn enemy, Corisco the Blond Devil (Othon Bastos), and the Pedra Bonita Massacre.
IMDB
Early effort from Rocha that sets the tone and approach of later movies and is considered a classic in Brazil. Many elements of Bazilian society are in conflict: There's the poor, suffering cowherd who lashes out to kill his cruel rancher-boss, a strange black priest who takes the cowherd through many trials that reflect Jesus and Abraham's sacrifice, a tortured and driven bandit outlaw, and Antonio das Mortes, the outlaw killer who is pressured by the church and powerful men. Everyone is sure they are on the side of good. The middle plodding hour of the movie wanders off into very slight surrealism and mystical symbolism. An allegory in the form of a fictional folk-story.
Black God, White Devil (1964)
Versátil Home Video in conjunction with Riofilme presents the restored and digitally remastered version of Deus e o Diabo na Terra do Sol (God and the Devil in the Land of the Sun), Glauber Rocha's masterpiece which became one of the landmarks of modern Brazilian cinema. After the murder of his boss, the ranch hand Manuel and his wife Rosa wander into the country, finding a black god, a blonde devil, and the fearsome Antônio das Mortes. With the support of Cinemateca Brasileira and Estúdio Mega, this is a historic edition full of extras, like interviews with the cast and people involved in the production; commentaries of specialists; theatrical trailer; soundtrack; Glauber's writings and drawings; unreleased photos, and much more. Deus e o Diabo na Terra do Sol is the first title of Coleção Glauber Rocha, which is releasing all the feature films of Bahian cinema in restored and remastered versions enriched with many extras.
Black God, White Devil (1964)
"You could say that Deus e o Diabo na Terra do Sol (Black God, White Devil) was a film provoked by the impossibility of doing a truly great Western, as, for instance, John Ford could. Equally, there was a trail of inspiration from Eisenstein, from The General Line , from The Battleship Potemkin , and further ideas from Visconti and Rossellini, from Kurosawa and from Buñuel. Deus e o Diabo arose from this tussle between Ford and Eisenstein, from the anarchy of Buñuel, and from the savage strength of the lunacy of surrealism."
Black God, White Devil (1964)
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So Glauber Rocha defined the multiple influences which contributed to Deus e o Diabo in an April 1981 interview with João Lopes (in the book Glauber Rocha , by Sylvie Pierre), four months before his death at the age of 42. Shown at Cannes in 1964, Deus e o Diabo , together with Nelson Pereira dos Santos' Vidas Secas (Barren Lives) , introduced the international viewing public to the Cinema Novo, an artistic movement which strove, in the name of a political conscience, for a Brazilian identity and ethos. Enthusiastically received at Cannes— Georges Sadoul considered its style "revolutionary"— Deus e o Diabo genuinely lived up to the Cinema Novo's motto: "an idea in the head and a camera in the hand." Glauber Rocha, the Cinema Novo's most controversial figure, was the author of bombastic writings, such as the manifesto "The Aesthetics of Hunger," (presented in Genova in January 1965 during the Reseña del Cine Latinoamericano), in which he stated that "our originality is our hunger." And the concept of hunger—both literally and in reference to a hunger for social justice—is central to Deus e o Diabo na Terra do Sol. The film's opening is prosaic enough: Manuel (Geraldo Del Rey), a poor herdsman, married to Rosa (Yoná Magalhães) and living in the dry, barren countryside of Northeastern Brazil in the early 1940s, decides to sell his cows and buy a plot of land. Things go awry when he ends up killing the buyer of his cows. Fleeing his destiny, he embraces the first option in the gospel according to Glauber Rocha: religious fanaticism, embodied by the Negro god, Beato Sebastião (Lídio Silva), a synthesis of the messianic leaders of that time and region. Sebastião promises his flock divine salvation and foretells the day when "the dry lands will turn into sea and the sea into dry land," which is the leitmotif of the film. Glauber Rocha believed that "the people of the Northeast are truly obsessed by the desire to see the sea, a sea which signifies the broadest sort of liberty."
Black God, White Devil (1964)
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As Manuel and Rosa follow the fanatic priest, Antonio das Mortes (Maurício do Valle) enters the scene; he is famous for exterminating cangaceiros, the rural and very violent bandits of the region. Hired to kill Sebastião, Antonio das Mortes is a quasi-mythological figure in his intimidating black cape. His character is further developed in a subsequent film, O Dragão da Maldade contra o Santo Guerreiro (Antonio das Mortes). By the time the killer reaches Sebastião, it is too late: the fanatic has already been killed by Rosa in a sacrificial ritual. On the run again, Manuel and Rosa join Corisco (Othon Bastos), the blonde devil. The physical embodiment of bitterness and cruelty, Corisco's ambition is to avenge the death of the legendary cangaceiro Lampião while proffering impassioned speeches in defense of the poor. Antonio das Mortes and Corisco face off in a stylized duel in one of the film's most effective sequences. Corisco is shot and dies screaming "the power of the people will win out."
Black God, White Devil (1964)
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Manuel and Rosa, true representatives of Corisco's "people," flee headlong through the interior, leaving behind them the fanaticism and the violence until the crazy Sebastião's words become true: the dry lands become sea and the sea becomes dry land. Herein lies the utopia of Glauber Rocha. The voice of the blind man is heard explaining the reasons for so much suffering: "divided up the way it is, the world is wrong. The land belongs to man, not to God nor to the devil."
Black God, White Devil (1964)
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In Deus e o Diabo, Glauber Rocha's second feature, launched after Barravento in 1961, the director created a tragic and convulsive northeastern opera; it is strongly allegorical, with symbols for "good" and "evil" in constant interaction. Some true-to-life portrayals, such as Manuel and Rosa, contrast with others of a classically theatrical tone, notably Corisco, inspired, according to Rocha, by Brecht. Linking aspects of popular culture with elements of the western, the film is narrated and sung by a blind man, a simplification of the Greek chorus. The outstanding sound track alternates Bach with Villa-Lobos, whose Fifth Bachiana contributes to one of the film's most striking moments: the love scene of Corisco and Rosa, choreographed and rhythmical, an unexpected outpouring of guileless poetry against a desolate backdrop marked by poverty and violence.
Black God, White Devil (1964)
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A true exponent of the author's cinema style, with the strong political and social concern of the 1960s, Glauber Rocha's restlessness is felt through the impatient use of the hand-held camera, the originality of his framings, and the rhythm of the editing. The use of panoramics, travellings, zooms, and close-ups produces a tense and eloquent narrative, punctuated by philosophical interjections—"fate is greater than we are;" "we have nothing to take but our fate," and "man learns nothing in peace, he needs to fight to live and he needs to die to win."
Black God, White Devil (1964)
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Thirty years after it was made, Deus e o Diabo retains its contesting tone and the revolutionary personality of Glauber Rocha. At the age of 25, with a camera in his hand and a whirlwind of ideas in his head, Glauber Rocha created one of the most important Brazilian films through the undeniable strength, originality, and beauty of this furious fable about good and evil.Susana Schild, Film Reference
Black God, White Devil (1964)
Special Features (Disc 2, No Subs):
- Interview with cast
- Trailer
- Coments of Ivana Bentes and Ismail Xavier
- Revies of the time
- The hinterland of Glauber
- Screemplay
- Photo Galery
- Poster
- Publicity of the time
- Soundtrack
- The restauration
- Technical cast
- Complet Bibliography
Black God, White Devil (1964)
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