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LEONr JOAOUIM, DAVIDr WE MISS YOU
2
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TO ARNALDO CARRILHO
AND CARLOS DIEGUES
3
00:00:41,642 --> 00:00:44,511
WHO MADE THIS FILM POSSIBLE
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00:00:50,551 --> 00:00:53,554
GIauber the Movier Labyrinth of BraziI
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00:00:53,687 --> 00:00:57,491
I've dedicated 20 years of my
IIfe to Brazilian cinema.
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00:00:57,624 --> 00:01:00,494
I'm one of Embrafilme's main artists.
7
00:01:00,661 --> 00:01:04,531
I've made some Brazilian films
that were internationally acclaimed.
8
00:01:04,665 --> 00:01:07,534
I find myself marginalized in BraziI
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00:01:07,668 --> 00:01:11,738
and I don't see a future
for Brazilian cinema.
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Silencer please. Letrs gol Soundl
11
00:01:19,046 --> 00:01:20,914
THE ROLE OF THE ARTIST IS TO VIOLATE.
12
00:01:29,656 --> 00:01:31,625
{\an8}GLAUBER ROCHA
REVOLUTIONIZED THE CINEMA.
13
00:01:32,092 --> 00:01:36,063
HIS FILMS PROMOTED A RADICAL REVISION
OF BRAZILIAN CULTURAL CONCEPTS
14
00:01:36,196 --> 00:01:37,831
{\an8}AND INFLUENCED OTHER CINEMAS.
15
00:01:37,998 --> 00:01:41,602
{\an8}HE LIVED IN A TIME
OF DREAMS OF GREATNESS AND HOPE.
16
00:01:41,735 --> 00:01:43,537
{\an8}THE WORLD WAS A LIBERTARIAN PARTV
17
00:01:43,670 --> 00:01:45,839
{\an8}AND REVOLUTION WOULD
COME FROM THE UNION
18
00:01:45,973 --> 00:01:48,442
{\an8}OF ART WITH POLITICSr
OF REALITY WITH UTOPIAr
19
00:01:48,575 --> 00:01:50,043
{\an8}OF REALITY WITH DERANGEMENT.
20
00:01:50,677 --> 00:01:55,682
HE MADE 15 FILMSr AND WROTE ESSAYSr
NOVELS AND PLAYS.
21
00:01:56,383 --> 00:01:58,619
{\an8}HE BELIEVED THE ROAD
TO HAPPINESS WAS
22
00:01:58,752 --> 00:02:00,621
{\an8}REVOLUTIONARY LIVING
AND HE LIVED HIS DREAM
23
00:02:00,754 --> 00:02:03,290
{\an8}VIVIDLY AND TRAGICALLY.
24
00:02:03,457 --> 00:02:06,293
{\an8}HIS LIFE WAS CONSUMED IN THIS FIREr
IN A LARGE CREATIVE EXPLOSION.
25
00:02:07,594 --> 00:02:11,598
{\an8}I think it's the grass thatrs killing me.
26
00:02:11,732 --> 00:02:16,703
{\an8}My body is falllng apart
IIke Picasso's "Guernica."
27
00:02:18,705 --> 00:02:24,678
{\an8}I have 14,000 white
blood cells In my bloodr
28
00:02:24,811 --> 00:02:26,680
{\an8}and that's a Iotr
29
00:02:26,847 --> 00:02:31,685
{\an8}because with 9r000 white blood cells
you can die of a heart condition.
30
00:02:31,818 --> 00:02:34,688
{\an8}With 7,000 too.
31
00:02:34,821 --> 00:02:37,691
{\an8}A normal white blood cell count is 4r000.
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00:02:37,824 --> 00:02:40,694
{\an8}I have 14,000.
33
00:02:40,827 --> 00:02:42,729
{\an8}Would it bother you to die now?
34
00:02:44,765 --> 00:02:46,733
{\an8}It's a complicated question.
35
00:02:46,867 --> 00:02:51,738
{\an8}I'm not the type of man
who is afrald of dyingr
36
00:02:51,872 --> 00:02:54,741
{\an8}because I had a great life.
37
00:02:54,875 --> 00:02:57,744
{\an8}I'm 42 years oldr
and I've Iived my IIfe fully,
38
00:02:57,878 --> 00:03:03,750
{\an8}because I traveled the whole worldr
39
00:03:03,884 --> 00:03:06,753
{\an8}I Ioved the women I wanted to Iover
40
00:03:06,887 --> 00:03:11,792
{\an8}I made the films I wanted to maker so...
41
00:03:11,925 --> 00:03:16,797
{\an8}Che Guevara died at the
age of 38r and I'm 42.
42
00:03:16,930 --> 00:03:18,732
{\an8}It's a lot for Latin Americans.
43
00:03:18,865 --> 00:03:22,803
{\an8}Sintra is a beautiful place to die.
44
00:03:25,372 --> 00:03:27,307
He got there and said, "That's great!"
45
00:03:27,441 --> 00:03:32,312
Jorge Amado is here in Portugalr
he's IIke our father.
46
00:03:32,446 --> 00:03:35,315
We two are brothers and we're herer
47
00:03:35,449 --> 00:03:37,918
your son is born,
and I'm about to dier shit!
48
00:03:38,051 --> 00:03:41,321
When he got there, he had pericarditis.
49
00:03:41,455 --> 00:03:44,324
He said he had had perlcarditis.
50
00:03:44,458 --> 00:03:46,560
But in factr he had a
Iarge wound in his Iung.
51
00:03:46,693 --> 00:03:51,364
Jorge Amado was one of
the first to visit Glauber,
52
00:03:51,498 --> 00:03:56,369
and he was really happy
with all those friends visiting him.
53
00:03:56,503 --> 00:04:01,775
Ne said, "Doctor, this is
like a great production. r'
54
00:04:01,942 --> 00:04:05,779
And Don't remember that after that day,
he decided to go to Lishon.
55
00:04:05,912 --> 00:04:08,782
Ne tells Dr. Carlos Serra:
56
00:04:08,915 --> 00:04:11,451
"Ooctor, the great production must go on."
57
00:04:11,585 --> 00:04:13,754
There is a mystery in this whole story.
58
00:04:13,887 --> 00:04:17,557
GIauber always said
he would die at age 42.
59
00:04:17,724 --> 00:04:21,795
He had said that long before:
"You know I'm going to dle at age 42,
60
00:04:21,928 --> 00:04:25,799
for I'm the relncarnation
of Castro AIves who died
61
00:04:25,932 --> 00:04:28,135
at 24r and I'm going to die at 42."
62
00:04:28,301 --> 00:04:33,840
He used to talk about this subtle relation
with Castro AIvesr
63
00:04:33,974 --> 00:04:35,909
and there is something there.
64
00:04:36,042 --> 00:04:40,847
The last time I saw him
his face was messed up.
65
00:04:40,981 --> 00:04:44,417
I was in the hospital hallway,
and he saidr "Hellor Ubaldo!"
66
00:04:44,551 --> 00:04:48,822
Trying to smller and I said, "Hi."
But my eyes were full of tearsr
67
00:04:48,955 --> 00:04:51,858
so I didn't pay attention to him.
68
00:04:51,992 --> 00:04:55,896
I remember that when the airplane flew by,
69
00:04:56,029 --> 00:04:59,900
I tried to guess whlch one he was on.
70
00:05:00,033 --> 00:05:04,905
I remember thatr
and unfortunately I was wrong,
71
00:05:05,038 --> 00:05:07,908
and I saidr "Now GIauber is safe."
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00:05:08,041 --> 00:05:10,477
I thought that he would be safe in Brazil.
73
00:05:11,611 --> 00:05:14,915
When he wanted to please us,
GIauber had the habit
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00:05:15,048 --> 00:05:18,885
of calling us "Master"'
just like in Bahia.
75
00:05:19,019 --> 00:05:24,024
When he wanted to please a friend,
he would call him "Master."
76
00:05:24,958 --> 00:05:31,965
Luis Carlos Barreto and I got into
the room where he was unconsciousr
77
00:05:32,098 --> 00:05:34,968
and, suddenlyr he recovered.
78
00:05:35,101 --> 00:05:37,971
Actually, we got in
because the doctor said
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00:05:38,104 --> 00:05:42,976
he was doing better
and would recognize us.
80
00:05:43,109 --> 00:05:46,980
So he looked at me and said,
81
00:05:47,113 --> 00:05:49,950
"What's upr Master? EIegant as usual."
82
00:05:50,083 --> 00:05:52,953
That was a Iier I have never been elegant.
83
00:05:53,086 --> 00:05:54,888
That was the last thing I heard him say.
84
00:05:55,021 --> 00:05:59,125
"We have to move on."
That's the last thing he said to me.
85
00:06:05,098 --> 00:06:11,037
Oh, sunny morning
86
00:06:11,171 --> 00:06:17,043
Anhangá ran away
87
00:06:17,177 --> 00:06:23,049
Anhangá hey hey
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00:06:23,183 --> 00:06:29,055
Ah, it was you
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00:06:29,189 --> 00:06:33,059
Who made me dream
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00:06:33,193 --> 00:06:40,066
And cry for my homeland
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00:06:40,200 --> 00:06:46,106
Guaraci, hey hey
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00:06:46,239 --> 00:06:52,112
Anhangá ran away
93
00:06:53,179 --> 00:07:00,086
Oh, Tupá God of Brazil
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00:07:00,220 --> 00:07:06,092
That fills up the sky with the Sun
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00:07:06,226 --> 00:07:09,129
With the stars
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00:07:09,262 --> 00:07:11,131
With the Moon
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00:07:11,264 --> 00:07:15,135
And with hope
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00:07:15,268 --> 00:07:20,173
Oh, Tupá
99
00:07:20,307 --> 00:07:27,247
Take away from me this yearning...
100
00:07:28,248 --> 00:07:32,152
Ah, Anhangá made me
101
00:07:32,285 --> 00:07:39,192
Dream of the land I lost
102
00:07:54,841 --> 00:08:00,013
HIs brief Iifer skinlessr
exposing his flesh,
103
00:08:00,146 --> 00:08:03,216
capable of feeling pleasurer
rightr GIauber?
104
00:08:04,751 --> 00:08:08,221
But even more of painr our pain.
105
00:08:08,355 --> 00:08:14,294
Oncer I will never forget thisr
GIauber spent the morning
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embracing me and crying.
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Crylng excessively.
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It took me a while to understand
that GIauber was crying
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00:08:31,378 --> 00:08:34,314
the pain that we would cry.
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00:08:34,447 --> 00:08:37,317
The pain every Brazllian would feel.
111
00:08:37,450 --> 00:08:39,319
GIauber was crying for
the hungry childrenr
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00:08:39,886 --> 00:08:43,323
for the country that didn't work.
113
00:08:43,456 --> 00:08:45,325
GIauber was crying
because of the brutality.
114
00:08:45,458 --> 00:08:47,327
GIauber was crying
because of the stupidityr
115
00:08:47,460 --> 00:08:49,329
mediocrityr torture.
116
00:08:49,462 --> 00:08:52,365
He could not stand itr
so he cried and crled.
117
00:08:53,066 --> 00:08:55,368
That's what GIauber's films are all about:
118
00:08:56,403 --> 00:08:59,372
they are an elegyr a cry, a shout.
119
00:09:01,875 --> 00:09:03,343
This is the Iegacy...
120
00:09:05,445 --> 00:09:06,613
he Ieaves us.
121
00:09:07,881 --> 00:09:12,352
He Ieaves us the Iegacy
of his indlgnation.
122
00:09:12,519 --> 00:09:18,024
He was the most indignant among usr
indignant at this worldr the way it is.
123
00:09:19,459 --> 00:09:23,396
Indignant because more
than any of usr GIauber saw
124
00:09:23,530 --> 00:09:27,400
what the world could ber
and will ber GIauber.
125
00:09:27,534 --> 00:09:28,802
It will be.
126
00:09:32,138 --> 00:09:35,408
GIauber Iived between
hope and desperationr
127
00:09:35,542 --> 00:09:37,277
IIke a crazy pendulum.
128
00:09:41,014 --> 00:09:45,885
Maria Lucia Godoy pays homage to GIauber
129
00:10:26,593 --> 00:10:27,594
VENICE 1980
130
00:10:29,562 --> 00:10:34,300
{\an8}AT THE VENICE FESTIVALr GLAUBER SHOWS
"THE AGE OF THE EARTH"
131
00:10:34,434 --> 00:10:36,536
HE GETS READY FOR HIS LAST BATTLE,
132
00:10:36,669 --> 00:10:39,239
WITH A FILM HE THOUGHT OF
AS A REVOLUTION IN FILMMAKING.
133
00:10:39,372 --> 00:10:42,542
{\an8}The third film is The Age of the Earth,
134
00:10:42,675 --> 00:10:45,545
{\an8}by Glauber Rochar
the great Brazilian director.
135
00:10:45,678 --> 00:10:47,547
{\an8}Ne made Antonio das Mortesr
136
00:10:47,680 --> 00:10:50,550
{\an8}which won an award in 1989
at the Cannes Film Festival.
137
00:10:50,683 --> 00:10:52,919
{\an8}Ne has already arrived,
but the film hasn't.
138
00:10:53,319 --> 00:10:55,655
{\an8}How would you introduce your film?
139
00:10:55,822 --> 00:11:02,095
{\an8}A Brazilian film by GIauber Rocha.
A Latin-Amerlcan filmr a universal film.
140
00:11:02,228 --> 00:11:06,599
{\an8}I won't explain anythingr
just watch it and listen to it.
141
00:11:06,733 --> 00:11:09,903
{\an8}This film is a breakthrough in film sound.
142
00:11:10,036 --> 00:11:11,905
{\an8}Is it a vanguard film?
143
00:11:12,038 --> 00:11:15,475
{\an8}It is an audiovisual fllmr
wlthout a narrative.
144
00:11:15,608 --> 00:11:18,578
{\an8}It's not a classic traditional fllm.
145
00:11:18,711 --> 00:11:22,615
{\an8}It's a film of images and sound, no words,
146
00:11:22,749 --> 00:11:24,284
{\an8}for that is theaterr not clnema.
147
00:11:24,417 --> 00:11:29,789
Freedom!
148
00:11:31,090 --> 00:11:33,626
{\an8}There is a lot of strain,
149
00:11:33,760 --> 00:11:39,666
{\an8}and as the film is shown on the screen,
150
00:11:39,799 --> 00:11:41,734
{\an8}people started leaving the room.
151
00:11:41,868 --> 00:11:47,974
{\an8}At first they left quietly
so no one would notice.
152
00:11:49,742 --> 00:11:56,316
{\an8}For us who were therer
it was like the first blows.
153
00:11:58,618 --> 00:12:02,222
{\an8}I know very well the Italian environmentr
154
00:12:02,355 --> 00:12:06,793
{\an8}and I saw that even
a few of GIauber's fans
155
00:12:07,927 --> 00:12:10,997
{\an8}stood up and walked away.
156
00:12:12,599 --> 00:12:17,937
{\an8}We blame the coup, it's natural.
157
00:12:18,071 --> 00:12:21,741
{\an8}At the end of the filmr
158
00:12:21,874 --> 00:12:24,677
{\an8}the room was empty.
159
00:12:24,811 --> 00:12:27,914
{\an8}Gloria and Atlantic City were films
160
00:12:28,047 --> 00:12:33,720
{\an8}with fewer expectations
than The Age of the Earth,
161
00:12:33,853 --> 00:12:36,923
{\an8}and had better resultsr
162
00:12:37,056 --> 00:12:39,592
{\an8}because they were less ambitious projects.
163
00:12:39,726 --> 00:12:42,295
{\an8}But I thlnk...
164
00:12:43,863 --> 00:12:49,569
{\an8}The Age of the Earth is a flawed filmr
but I wouldn't say that to GIauber,
165
00:12:49,702 --> 00:12:51,571
{\an8}because he was flghting
a really hard battle.
166
00:12:51,704 --> 00:12:56,809
With exception of the French
critics that were supportiver
167
00:12:56,943 --> 00:12:59,812
everyone else vilified the film.
168
00:12:59,946 --> 00:13:01,447
Nobody understood it very well.
169
00:13:01,581 --> 00:13:05,418
And no one was paying
attentlon to the filmr
170
00:13:05,551 --> 00:13:08,321
they were paying attention to GIauber,
171
00:13:08,488 --> 00:13:13,393
and the criticsr especially the Itallansr
who were Iertistsr
172
00:13:13,526 --> 00:13:15,795
got the wrong impression.
173
00:13:15,928 --> 00:13:18,831
They thought he was an
agent of the imperialism.
174
00:13:18,965 --> 00:13:21,834
So everything went wrong.
175
00:13:21,968 --> 00:13:28,107
It wasn't well-accepted,
and he got really upset about It.
176
00:13:28,241 --> 00:13:30,343
Andr as expectedr
177
00:13:30,476 --> 00:13:34,914
at the end of the festivalr
when Louis Malle was awarded,
178
00:13:35,048 --> 00:13:38,184
he did something unusual.
179
00:13:38,318 --> 00:13:41,821
He protested in front of the Lido
180
00:13:41,954 --> 00:13:47,860
against the cultural imperialistic cinema
181
00:13:47,994 --> 00:13:52,865
that was blocking our roots and potential.
182
00:13:52,999 --> 00:13:56,269
And a multitude of
journalists followed him.
183
00:13:56,402 --> 00:13:59,706
It was something like...
184
00:14:00,973 --> 00:14:04,944
Anthropophagyr
surrealismr combined together.
185
00:14:05,078 --> 00:14:07,947
We only needed Oswald DE
Andrade and Bishop Sardinha
186
00:14:08,081 --> 00:14:09,482
to complete the scenery.
187
00:14:09,615 --> 00:14:13,453
I was worried and I stayed
next to him during the walk.
188
00:14:13,586 --> 00:14:17,490
He noticed itr and said calmly:
189
00:14:17,623 --> 00:14:21,494
"Don't worryr there's nothing wrong."
190
00:14:21,661 --> 00:14:24,997
I told hlm he couldn't say those thingsr
and he saidr "I can."
191
00:14:25,131 --> 00:14:29,535
"In the Iounge of the
Excelsior Venice Lido Hotelr
192
00:14:29,669 --> 00:14:31,537
GIauber Rocha met Malle.
193
00:14:31,671 --> 00:14:33,539
The French director carefully
194
00:14:33,673 --> 00:14:37,276
approached the Brazilian
and sald in a fatherly tone:
195
00:14:37,410 --> 00:14:39,078
"GIauberr calm down.
196
00:14:39,212 --> 00:14:41,981
That's how festivals arer
not everybody wins."
197
00:14:42,115 --> 00:14:46,519
The Brazilianr upset with the juryr
answered briefly:
198
00:14:46,652 --> 00:14:49,555
"Maller you know this is not the point.
199
00:14:50,590 --> 00:14:53,826
What happened here was something else.
200
00:14:53,960 --> 00:14:57,830
You won the Golden Lion
because it was a setupr
201
00:14:57,964 --> 00:15:02,568
you won because your film
was produced by Gaumontr
202
00:15:02,702 --> 00:15:04,704
an imperialistic multinational."
203
00:15:05,438 --> 00:15:07,607
Ne yells at the balconies
of the Excelsior:
204
00:15:07,740 --> 00:15:13,913
"Louis Malle is a second-rate director!
Ne can't beat mel
205
00:15:14,046 --> 00:15:16,616
I make the cinema of the futurer
206
00:15:16,749 --> 00:15:19,619
and he makes commercial films."
207
00:15:19,752 --> 00:15:21,053
{\an8}This is disgusting!
208
00:15:21,187 --> 00:15:25,458
{\an8}The Festival was paid for
by Columbia, RAl and Gaumont!
209
00:15:25,591 --> 00:15:28,628
{\an8}Damnl This is a disrespect to culturel
210
00:15:28,761 --> 00:15:32,632
{\an8}Awarding a film by Louis Malle is a shame.
211
00:15:32,765 --> 00:15:36,636
{\an8}Mr. George Stevens
is representing the Pentagon!
212
00:15:36,769 --> 00:15:39,639
{\an8}Mr. Andrew Sarris is representing the CIA!
213
00:15:39,772 --> 00:15:41,674
{\an8}It's a shame!
214
00:15:41,808 --> 00:15:44,677
{\an8}The critics that agree with this award
215
00:15:44,811 --> 00:15:48,681
{\an8}are signing their cultural death sentence.
216
00:15:48,815 --> 00:15:55,755
{\an8}It's a shame!
It's an offense to our film tradition!
217
00:15:56,155 --> 00:16:00,660
{\an8}Nere in the ttaly of Rossellini,
of Visconti.
218
00:16:00,793 --> 00:16:02,728
{\an8}This is not possible!
219
00:16:03,763 --> 00:16:04,931
WE HAVE TO BREAK UP NOW
220
00:16:05,064 --> 00:16:07,166
BEFORE WE SEE AT THE
DOOR OF A FILM THEATER
221
00:16:07,300 --> 00:16:08,901
A SENTENCE SOMEWHAT LIKE THIS:
222
00:16:09,035 --> 00:16:10,736
TODAY IN KINESCOPE AND TECHNICOLORr
223
00:16:10,870 --> 00:16:13,105
A GREAT SHOW
REPRESENTING OUR MISERY.
224
00:18:13,693 --> 00:18:16,429
GIauber the Movier Labyrinth of BraziI
225
00:18:20,032 --> 00:18:23,469
"The one person who knows
American Iiterature in Bahia is Ubaldo."
226
00:18:24,136 --> 00:18:26,973
But I didn't know anfyhlng at all.
227
00:18:27,106 --> 00:18:31,410
I had read a few thingsr
IIke Hemingway, things like that.
228
00:18:31,544 --> 00:18:34,981
But he committed mer in such a wayr
229
00:18:35,114 --> 00:18:39,852
to this Amerlcan Iiterature stuff
that I began to studyr
230
00:18:39,986 --> 00:18:41,988
and I got nervous,
231
00:18:42,121 --> 00:18:43,990
because people began
to demand that from me.
232
00:18:44,123 --> 00:18:46,292
"GIauber said that you
know American IIterature."
233
00:18:46,425 --> 00:18:51,430
He made me a Iiterary celebrity
and a wrlter.
234
00:18:51,564 --> 00:18:55,601
He sensed things about me
I didn't know I had.
235
00:18:55,735 --> 00:19:00,039
For exampler I had studied musicr
236
00:19:00,172 --> 00:19:04,043
but I had never dared to orchestrate.
237
00:19:04,176 --> 00:19:07,647
My dream was to compose a symphony.
238
00:19:07,780 --> 00:19:11,050
So this guy comes up to me and says:
239
00:19:11,183 --> 00:19:15,021
"You are going to compose
the music for Entranced Earth
240
00:19:15,154 --> 00:19:16,989
and orchestrate it."
241
00:19:17,123 --> 00:19:20,292
And I told him, "GIauberr this is crazyr
242
00:19:20,426 --> 00:19:22,895
I have never composed
anything for orchestra."
243
00:19:23,029 --> 00:19:25,097
He replied: "But I know you can do it."
244
00:19:25,231 --> 00:19:26,465
In the end, I did it.
245
00:19:27,466 --> 00:19:31,437
Around GIauberr
nothing was normalr commonplace.
246
00:19:31,570 --> 00:19:33,439
That's what impressed me.
247
00:19:33,572 --> 00:19:36,442
If he were here nowr
248
00:19:36,575 --> 00:19:40,446
this video store would be differentr
249
00:19:40,579 --> 00:19:42,448
we would be different.
250
00:19:42,581 --> 00:19:47,453
He created a peculiar epic atmosphere.
251
00:19:47,586 --> 00:19:50,456
He was epic with his life,
nothing was simple.
252
00:19:50,589 --> 00:19:54,493
On the phoner instead of saying:
253
00:19:54,627 --> 00:19:57,496
"Hellor who is it? How are you?"
254
00:19:57,630 --> 00:19:59,498
He said: "What happens is that
255
00:19:59,632 --> 00:20:02,501
the North-American imperlallsm
is attacking Embrafilmer
256
00:20:02,635 --> 00:20:04,503
and you have to..."
257
00:20:04,637 --> 00:20:06,505
Everything was IiPe thatr no clapboards.
258
00:20:06,639 --> 00:20:08,808
GIauber was a "no-clapboard" man.
259
00:20:09,408 --> 00:20:13,512
He exposed his theory
on humanity and politics.
260
00:20:13,679 --> 00:20:18,484
Sometimes, he talked to me
as if he were Geisel and I was Prestes.
261
00:20:18,617 --> 00:20:20,486
He used to consplre with me.
262
00:20:20,619 --> 00:20:22,521
"But I don't even know Prestes."
263
00:20:22,655 --> 00:20:24,523
In his mindr
264
00:20:24,657 --> 00:20:28,527
I was a member of the Communlst Party,
265
00:20:28,661 --> 00:20:32,565
Prestes and I were really closer
whatever Prestes wanted.
266
00:20:32,698 --> 00:20:34,567
And he was Geiselr
267
00:20:34,700 --> 00:20:37,603
he wanted to plot and conspire...
268
00:20:39,605 --> 00:20:43,576
And he talked for hoursr
wlld with excitement.
269
00:20:43,709 --> 00:20:45,444
You wouldn't contradict him.
270
00:20:45,578 --> 00:20:47,580
He was full of ideas.
271
00:20:47,713 --> 00:20:50,549
He wanted to ber if not the presidentr
272
00:20:50,683 --> 00:20:53,552
at least the minister of culture.
273
00:20:53,686 --> 00:20:55,688
He had Incredible projects.
274
00:20:55,821 --> 00:21:00,559
I never thought an artist
could place himself at this Ievelr
275
00:21:00,693 --> 00:21:03,295
could dream so much.
276
00:21:03,429 --> 00:21:09,635
I think they are very special people
that helped us think big.
277
00:21:09,769 --> 00:21:12,638
Today I feel thatr in Brazilr
278
00:21:12,772 --> 00:21:18,644
people don't dream so muchr
they're not as daring
279
00:21:18,778 --> 00:21:21,647
as they were in GIauber's time.
280
00:21:21,781 --> 00:21:23,649
Today we talked about Juscelino,
281
00:21:23,783 --> 00:21:28,654
who was also a dreamer
and had many projects.
282
00:21:28,788 --> 00:21:30,656
For me, this is fantastic.
283
00:21:30,790 --> 00:21:35,661
For a young artlst IIke me,
who was still Iearning,
284
00:21:35,795 --> 00:21:37,997
it was fundamental.
285
00:21:38,130 --> 00:21:41,700
Once we were walking down
Visconde DE Pirajé Street
286
00:21:41,834 --> 00:21:46,705
to buy the newspaper,
towards General Osórlo Square.
287
00:21:47,773 --> 00:21:51,710
He was whispering in my earr
288
00:21:53,779 --> 00:21:56,715
making a small revolution.
289
00:21:56,849 --> 00:21:59,685
Then he began to talk Iouderr
290
00:21:59,819 --> 00:22:02,688
forgettlng about the ear thingr
291
00:22:02,822 --> 00:22:05,691
and suddenly he was giving a talkr
292
00:22:05,825 --> 00:22:07,693
speaking really Ioud on the street.
293
00:22:07,827 --> 00:22:10,729
When we got to the squarer
294
00:22:10,863 --> 00:22:12,731
he said to mer
295
00:22:12,865 --> 00:22:15,734
"Listen. Don't tell anyone you saw mer
296
00:22:15,868 --> 00:22:18,771
for your own safety."
297
00:22:18,904 --> 00:22:21,774
And he left me standing therer
298
00:22:21,907 --> 00:22:23,776
and I got really paranoidr
299
00:22:23,909 --> 00:22:26,779
because there were a lot of people around.
300
00:22:26,912 --> 00:22:30,149
"Don't tell anyone you saw mer
for your own safety."
301
00:22:30,816 --> 00:22:34,787
He would get close to the person and sayr
302
00:22:36,822 --> 00:22:42,795
"Don't tell anyone you saw mer
for your own safety."
303
00:22:45,698 --> 00:22:47,967
Moving his hand like thisr
the fingers pointlng downr
304
00:22:48,100 --> 00:22:49,802
he had a few hairs here.
305
00:22:51,871 --> 00:22:53,873
That's what he did.
306
00:22:54,974 --> 00:22:56,942
If you went to hls house
at 10 In the morningr
307
00:22:57,076 --> 00:22:59,845
he'd be in his underwearr
his shirt unbuttoned,
308
00:22:59,979 --> 00:23:02,848
sitting in front of the typewriter.
309
00:23:02,982 --> 00:23:06,819
There weren't any computers.
Typing and talkingr
310
00:23:06,952 --> 00:23:08,821
typing and talking.
311
00:23:08,954 --> 00:23:11,857
You'd see photos on the
wall and paper all overr
312
00:23:11,991 --> 00:23:14,860
on the floorr on the tabler on the wall,
313
00:23:15,027 --> 00:23:18,864
on the ceilingr
under the typewrlterr in his pocket...
314
00:23:18,998 --> 00:23:22,868
And he talked and wroter
"That's how it isr
315
00:23:23,002 --> 00:23:25,871
the future of Brazillan cinemar
of world cinemar
316
00:23:26,005 --> 00:23:28,874
the cinema revolutionr
that's what cinema isr
317
00:23:29,008 --> 00:23:30,910
cinema is our Iivesr cinemar cinema."
318
00:23:31,043 --> 00:23:34,914
With an unstoppable energyr
"Stop itr GIauber!"
319
00:23:35,047 --> 00:23:37,583
"I can't! I have to talk about clnema!"
320
00:23:37,750 --> 00:23:42,888
You have to photograph Barren Lives
because you will change photographyr
321
00:23:43,022 --> 00:23:46,892
and put an end to this alienated
322
00:23:47,026 --> 00:23:49,428
and colonized photography
of the Brazilian cinema.
323
00:23:49,561 --> 00:23:51,931
"Glauberr lrm not a film photographer. r'
324
00:23:52,064 --> 00:23:54,934
"lrll talk to Nelson,
I'll bring him here."
325
00:23:55,067 --> 00:23:57,937
And he brought Nelson in to designate me
326
00:23:58,070 --> 00:24:00,940
as the photographer of Barren LIves.
327
00:24:01,073 --> 00:24:04,977
I said, "I can only
photograph with Leica cameras,
328
00:24:05,144 --> 00:24:09,782
with a naked lensr I don't use a filterr
just natural light."
329
00:24:09,915 --> 00:24:11,951
"That's what we want."
330
00:24:12,084 --> 00:24:17,990
My theory Is that he acted like a priestr
he held the truth.
331
00:24:18,123 --> 00:24:20,993
He had to tell the truth to everybody.
332
00:24:21,126 --> 00:24:24,997
Not only to his friendsr
but especially to his enemies.
333
00:24:25,130 --> 00:24:30,002
He carried God's word.
334
00:24:30,135 --> 00:24:34,006
Ne had enough confidence and strength
335
00:24:34,139 --> 00:24:37,109
to use the word to preach.
336
00:24:37,242 --> 00:24:43,048
This obsesslon with his workr
with making everybody workr
337
00:24:43,182 --> 00:24:47,353
it must come from a
Protestant background.
338
00:24:47,920 --> 00:24:51,023
He was constantly affronting
Brazilian cinema.
339
00:24:51,156 --> 00:24:54,026
Whenever Brazillan cinema was quietr
340
00:24:54,159 --> 00:24:58,063
GIauber would say something really crazy.
341
00:24:58,197 --> 00:25:02,067
At first, you were scaredr
and arter analyzlng it, you'd see
342
00:25:02,201 --> 00:25:08,307
that the idea was organlcr
it was his way of doing things.
343
00:25:08,474 --> 00:25:13,078
RIO
AUGUST 22ndr 1981 PARQUE LAJE
344
00:25:50,783 --> 00:25:52,751
The New Cinema exists
345
00:25:52,885 --> 00:25:56,789
as long as Don't believe Don't am the New Cinema.
346
00:25:56,922 --> 00:25:59,792
I'm alive, and I'm making new films.
347
00:25:59,925 --> 00:26:05,798
The things that exist around me
are a type of intellectual piracy.
348
00:26:05,931 --> 00:26:08,934
I am like Joäo Goulart,
349
00:26:09,068 --> 00:26:13,806
all filmmakers betrayed me.
350
00:26:13,939 --> 00:26:18,644
They never forgave me for making
Black Godr Whlte DeviI
351
00:26:18,777 --> 00:26:23,782
at the age of 23
and impressing the whole world.
352
00:26:31,924 --> 00:26:35,861
{\an8}THE SOUND OF THIS FILM WAS LOST,
353
00:26:35,994 --> 00:26:38,864
{\an8}A GREAT OFFENSE TO THE FILMMAKER,
354
00:26:38,997 --> 00:26:40,866
{\an8}AN ACT OF SABOTAGE
355
00:26:40,999 --> 00:26:43,902
{\an8}AGAINST OUR NATIONAL CULTURE.
356
00:27:27,012 --> 00:27:32,918
Afternoon, a pink cloud
Slow and transparent
357
00:27:33,051 --> 00:27:37,956
Over the space dreamy and beautiful
358
00:27:38,090 --> 00:27:40,959
The moon rises softly
359
00:27:41,093 --> 00:27:45,998
Embellishing the afternoon
This sweet maid
360
00:27:46,131 --> 00:27:50,135
And moves on beautifullyr dreamily
361
00:27:50,269 --> 00:27:54,006
Longing within her soul to look lovely
362
00:27:54,139 --> 00:27:59,011
And screaming the sky and the earth
363
00:28:00,078 --> 00:28:05,984
The whole nature
364
00:28:06,118 --> 00:28:10,989
Flock of birds stop her sad laments
365
00:28:11,123 --> 00:28:16,028
And reflect in the sea all your riches
366
00:28:16,161 --> 00:28:20,065
Soft moonlight awake now
367
00:28:20,199 --> 00:28:25,070
This cruel longing that laughs and cries
368
00:28:25,204 --> 00:28:31,076
Afternoon, a pink cloud
Slow and transparent
369
00:28:31,210 --> 00:28:37,115
Over the space dreamy and beautiful
370
00:29:41,246 --> 00:29:44,182
Before GIauber's deathr
371
00:29:44,316 --> 00:29:46,084
neither the Right nor the Left,
372
00:29:46,218 --> 00:29:48,186
neither the New Cinema
nor the French New Waver
373
00:29:48,320 --> 00:29:50,222
they didn't want anything to do with him.
374
00:29:51,256 --> 00:29:56,228
After his death, they all didr
but only on the night of his death.
375
00:29:58,263 --> 00:30:02,234
During the dayr
no one wanted to undertake anything.
376
00:30:02,367 --> 00:30:04,236
GIauber had shattered
377
00:30:04,369 --> 00:30:08,273
the Communist Partyr
the fasclstsr the militaryr
378
00:30:08,407 --> 00:30:10,409
and they answered back.
379
00:30:10,542 --> 00:30:15,280
When someone is a genius like GIauber wasr
380
00:30:15,414 --> 00:30:20,285
or Villa-Lobosr or Darcy Ribelro or...
381
00:30:22,354 --> 00:30:25,290
We can say people
who have original thoughts.
382
00:30:25,424 --> 00:30:27,292
We can basically express it like thatr
383
00:30:27,426 --> 00:30:32,297
a person that thinks differently,
that is orlginal.
384
00:30:32,431 --> 00:30:35,300
These people suffer a Iotr
they are hauntedr
385
00:30:35,434 --> 00:30:38,303
and also misunderstood.
386
00:30:38,437 --> 00:30:41,340
They know their value...
387
00:30:43,408 --> 00:30:48,480
and when they're not acknowledged,
they become very sensitive.
388
00:30:49,081 --> 00:30:54,319
A contributing factor to his death
was this feellng of asphyxia
389
00:30:54,486 --> 00:31:00,692
that he had towards the Brazilian cinema
and also the world cinema.
390
00:31:00,826 --> 00:31:07,366
Until the day before he dledr
he was like a punchlng bag.
391
00:31:08,266 --> 00:31:13,238
Brazil loves to hurt its best children.
392
00:31:13,405 --> 00:31:17,642
GIauber only became unanimous as an artist
because of his tragic death.
393
00:31:23,482 --> 00:31:26,418
GIauber the Movier Labyrinth of BraziI
394
00:31:30,088 --> 00:31:30,989
ROOTS
395
00:31:31,456 --> 00:31:37,396
According to GIauberr in Bahiar
a new art would emerger
396
00:31:37,529 --> 00:31:39,398
the new Brazilian culture.
397
00:31:39,531 --> 00:31:43,402
The art and the culture
from our generation
398
00:31:43,535 --> 00:31:45,070
would emerge in Bahia.
399
00:31:45,203 --> 00:31:48,440
The new Brazilian cinemar
the new theaterr the new music,
400
00:31:48,573 --> 00:31:50,175
everything would come from Bahla.
401
00:31:50,308 --> 00:31:54,479
We discoveredr one morning,
at the Liceo Theater,
402
00:31:54,613 --> 00:31:58,450
Walter da Silveira making the Cinema CIubr
403
00:31:58,617 --> 00:32:04,122
which was the process of informatlon
about cinema of the new generation.
404
00:32:04,256 --> 00:32:09,494
We saw everything there was
until the middle of the centuryr
405
00:32:09,628 --> 00:32:12,497
very well organized: the neorealismr
406
00:32:12,631 --> 00:32:16,501
the Soviet cinema of the 20sr
407
00:32:16,635 --> 00:32:20,505
the silent American filmsr
they showed everythingr
408
00:32:20,639 --> 00:32:25,510
IIke a film forumr
with a feature presentation
409
00:32:25,644 --> 00:32:29,548
and debate and analysis
of the film arterwardsr
410
00:32:29,681 --> 00:32:32,517
that Mr. Walter wrote in the newspaper.
411
00:32:32,651 --> 00:32:37,589
Pages and pages of revlews of those films.
412
00:32:37,722 --> 00:32:44,496
At the tlmer three people
defined its composition:
413
00:32:45,130 --> 00:32:47,566
Walter da Silveira in Bahiar
Alex Viany in Rior
414
00:32:47,699 --> 00:32:49,334
and Paulo Emilio in S9o Paulo.
415
00:32:49,468 --> 00:32:51,636
All of them were crazy
about Glauber Rocha.
416
00:32:51,770 --> 00:32:56,575
Everybody saidr "That's GIauber,
he's brilllant, a genius."
417
00:32:56,708 --> 00:33:01,580
And I admired and envied himr
but not in a bad way.
418
00:33:01,713 --> 00:33:06,585
I wanted to be IIke himr
desired by women, as he was.
419
00:33:06,718 --> 00:33:10,622
He wasn't such a womanizer,
he had a steady girlfriend.
420
00:33:10,755 --> 00:33:13,625
I don't know If I'm allowed to say names.
421
00:33:13,758 --> 00:33:15,627
-You should.
-Wellr I don't knowr
422
00:33:15,760 --> 00:33:18,630
I might be sued.
423
00:33:18,763 --> 00:33:20,632
He had an affair with this girl.
424
00:33:20,765 --> 00:33:22,634
It wasn't an affair,
425
00:33:22,767 --> 00:33:26,638
it was a steady
relationshlp with this girl.
426
00:33:26,771 --> 00:33:29,641
She was a friend of miner
but I never saw her again.
427
00:33:29,774 --> 00:33:31,643
Her name was Milse.
428
00:33:31,776 --> 00:33:34,646
Like all his relationshipsr
it was complicatedr
429
00:33:34,779 --> 00:33:38,650
full of commotionr something baroque.
430
00:33:40,185 --> 00:33:45,690
GIauber and I had this intense debate.
431
00:33:46,725 --> 00:33:52,697
Actually, he wanted to win the debater
and I had no special interest in...
432
00:33:52,864 --> 00:33:58,003
He was my friend
and I was interested in his well-being.
433
00:33:58,169 --> 00:34:04,509
But he was debating a serlous problem
of breaking up with Milse
434
00:34:04,643 --> 00:34:07,145
and start dating Helena Ignés.
435
00:34:09,114 --> 00:34:14,686
I remember we walked around for two hoursr
436
00:34:14,819 --> 00:34:18,723
from the university to Lapar up and down.
437
00:34:18,857 --> 00:34:23,728
He saidr "Should I break up
with Helena or with Milse?
438
00:34:23,862 --> 00:34:27,732
This is a serious problem."
439
00:34:27,866 --> 00:34:30,769
And I saldr "Yes, it's very serious."
440
00:34:31,303 --> 00:34:33,772
I met GIauber because of his smile.
441
00:34:33,905 --> 00:34:37,776
It was an ironic
but a very particular smile.
442
00:34:37,909 --> 00:34:44,082
There was someone reciting Castro AIves,
443
00:34:44,215 --> 00:34:46,751
he was from Bahia,
444
00:34:46,885 --> 00:34:49,754
an expert in Castro AIvesr
445
00:34:49,888 --> 00:34:52,757
a very handsome guy
446
00:34:52,891 --> 00:34:57,829
from the Law Schoolr
very Gongoristic and baroquer
447
00:34:57,963 --> 00:35:02,834
but a little too much.
448
00:35:02,968 --> 00:35:06,838
He exceeded a little bit.
449
00:35:06,972 --> 00:35:09,841
GIauber Iaughed at him.
450
00:35:09,975 --> 00:35:14,879
I walked into the auditoriumr
and he was Iaughing.
451
00:35:15,013 --> 00:35:16,881
He looked at me and smiled at me.
452
00:35:17,015 --> 00:35:20,819
He gave me this smiler
it was something like that.
453
00:35:20,952 --> 00:35:24,623
It was fascinating!
454
00:35:24,756 --> 00:35:26,858
Glauber had everything:
455
00:35:27,959 --> 00:35:31,930
he was brlght, intelligent, charmlngr
456
00:35:32,964 --> 00:35:34,799
and crazy too.
457
00:35:34,933 --> 00:35:39,904
THE FIRST FILM ONE NEVER FORGETS...
458
00:35:40,038 --> 00:35:43,408
1959
20 YEARS OLD - O Pd,TIO
459
00:35:43,975 --> 00:35:46,945
And we did O Pátio together.
460
00:35:47,479 --> 00:35:51,016
It was our first filmr
and I was the producer.
461
00:35:51,149 --> 00:35:55,420
1959 - A CRUZ NA PRAÓA
462
00:35:56,488 --> 00:35:59,424
He didn't show us a script,
463
00:35:59,557 --> 00:36:02,427
he only said that I was going to be in it
464
00:36:02,560 --> 00:36:07,298
with a student from the Drama School
called AnatóIio OIiveira.
465
00:36:07,465 --> 00:36:13,471
GIauber explained to me that I had to walk
while AnatóIio stared at me.
466
00:36:13,605 --> 00:36:19,277
AnatóIio was supposed to
tease me and flirt with me.
467
00:36:19,411 --> 00:36:24,449
A Cruz na Praqa is the story
of two homosexuals flirting.
468
00:36:24,582 --> 00:36:28,486
Glauber said to me,
"Maciel, we'll shoot now
469
00:36:28,620 --> 00:36:33,491
the most important scene
of the filmr the climax.
470
00:36:33,625 --> 00:36:37,495
AnatóIio doesn't know yetr
I'll tell hlm now.
471
00:36:37,662 --> 00:36:43,535
It goes IIke this: He approaches you,
and grabs your balls."
472
00:36:44,569 --> 00:36:48,540
Glauber approached Anatőlio
473
00:36:48,673 --> 00:36:51,543
and whispered in his earr
the way he always did.
474
00:36:51,676 --> 00:36:54,579
AnatóIio was very reluctant.
475
00:36:54,713 --> 00:36:59,551
Suddenly GIauber stopped
talking and shouted:
476
00:37:01,586 --> 00:37:04,522
"You're not a professional!
477
00:37:04,656 --> 00:37:07,525
You will never be a real actor.
478
00:37:07,659 --> 00:37:11,563
An actor that refuses to shoot a scene!
479
00:37:11,696 --> 00:37:13,098
Your career is over."
480
00:37:13,231 --> 00:37:16,568
That affected Anatőlio,
and he made the scene.
481
00:37:17,635 --> 00:37:18,603
1962
22 YEARS OLD
482
00:37:18,737 --> 00:37:20,205
BARRAVENTO OPERA PRIMA AWARD
483
00:37:20,338 --> 00:37:22,107
RARLOTV-VARY FESTIVAL CZECHOSLOVAKIA
484
00:37:22,273 --> 00:37:28,113
GIauber Rocha's first feature film
approached the problem of Black people
485
00:37:28,246 --> 00:37:32,083
in a village of Black fishermen.
486
00:37:32,217 --> 00:37:35,120
It was produced in 1981, 1982.
487
00:37:35,286 --> 00:37:40,125
In 1962, the committee of film selection
of the Ministry of international Affairs
488
00:37:40,258 --> 00:37:44,696
sent the film to Karlovy-Vary,
where it won an award.
489
00:37:44,829 --> 00:37:47,599
When the film was about to
be released for the publicr
490
00:37:47,732 --> 00:37:51,136
the director of the Censorship Service
491
00:37:51,269 --> 00:37:55,173
declared that the film had to be censored.
492
00:37:55,306 --> 00:37:59,177
I was in the meetingr and I asked him why.
493
00:37:59,310 --> 00:38:03,181
He said there was a Marxist
message In the film.
494
00:38:03,314 --> 00:38:09,988
We argued about it
and finally the film was released.
495
00:38:10,121 --> 00:38:11,189
1964
24 YEARS OLD
496
00:38:11,322 --> 00:38:14,092
Black Godr Whlte DeviI
497
00:38:14,259 --> 00:38:20,198
When I saw the dallies of Corisoor
that GIauber showed in the Cine Guarani,
498
00:38:20,365 --> 00:38:24,836
at Castro AIves Squarer
and I saw that man moving In a circle.
499
00:38:24,969 --> 00:38:29,207
I said, "Glauberr this is awful!
Do you really think
500
00:38:29,340 --> 00:38:31,943
something is going to happen here?'r
501
00:38:32,110 --> 00:38:37,215
He saidr "It doesn't have any sound yetr
or voices. When the music startsr
502
00:38:37,348 --> 00:38:39,350
you'll see what happens."
503
00:38:49,027 --> 00:38:52,897
The power of the people is stronger!
504
00:38:56,935 --> 00:39:00,905
{\an8}It was a milestone in my life.
505
00:39:01,039 --> 00:39:02,907
{\an8}It set new Iimlts.
506
00:39:03,041 --> 00:39:04,909
It was an explosion.
507
00:39:05,043 --> 00:39:06,945
I had never seen anything like that.
508
00:39:07,078 --> 00:39:12,083
The film surprised us to a point
509
00:39:12,217 --> 00:39:16,955
where we could no longer sleep.
510
00:39:17,088 --> 00:39:18,957
It was pure adrenaliner
511
00:39:19,524 --> 00:39:25,230
wltnessing the birth of a masterpiecer
512
00:39:25,363 --> 00:39:28,967
{\an8}of the film we wanted and needed.
513
00:39:29,100 --> 00:39:32,971
{\an8}And it was right there on the screen.
514
00:39:33,104 --> 00:39:37,976
We had no idea of how great
515
00:39:38,142 --> 00:39:43,014
and important it was to our generation,
and to us, at that time.
516
00:39:43,147 --> 00:39:45,984
At the end of the filmr
we knew what we wanted.
517
00:39:46,117 --> 00:39:47,185
But maybe not before.
518
00:39:49,287 --> 00:39:55,526
GIauber the Movier Labyrinth of BraziI
519
00:39:56,060 --> 00:40:00,031
THE MILITARY COUP OF APRIL 1 STr 1964
THAT OVERTHREW JANGO
520
00:40:00,198 --> 00:40:03,268
ORDAINS A TIME
OF REPRESSION AND AUTHORITARIANISM
521
00:40:12,844 --> 00:40:17,048
THE INTERNATIONAL CONFLICTS
AGAINST THE REVOLUTION AND IMPERIALISM
522
00:40:17,181 --> 00:40:19,050
WON'T LEAVE ANY ROOM FOR IMPARTIALITY
523
00:40:19,183 --> 00:40:22,053
"EVERY SPECTATOR IS A
COWARD OR A TRAITOR."
524
00:40:22,186 --> 00:40:23,521
FRANTZ FANON
525
00:40:25,123 --> 00:40:28,059
{\an8}FAITHFUL TO HIS DESTINY AS AANGYr
526
00:40:28,192 --> 00:40:30,528
{\an8}GLAUBER THROWS HIMSELF
INTO THE EYE OF THE HURRICANE
527
00:40:30,695 --> 00:40:32,964
1965
EIGHT INTELLECTUALS ARE ARRESTED
528
00:40:33,097 --> 00:40:35,967
IN A GATHERING. AMONG THEM IS GLAUBER.
529
00:40:36,134 --> 00:40:40,104
Then it happened. I raised the placardsr
"No more dictatorship"
530
00:40:40,238 --> 00:40:43,107
as Castelo Branco went up the steps.
531
00:40:43,241 --> 00:40:47,111
Ne looked back and became alarmed.
532
00:40:47,245 --> 00:40:49,113
{\an8}There were people screaming.
533
00:40:49,247 --> 00:40:53,117
{\an8}They broke Callado's eyeglasses
and hit Flavio Rangel.
534
00:40:53,251 --> 00:40:56,154
Glauber was also there, and he said,
535
00:40:56,287 --> 00:41:00,158
"There's only one way out,
we have to surrender. 'r
536
00:41:00,291 --> 00:41:05,830
We were in jail for 11 days,
but they wanted 4 years for us.
537
00:41:09,200 --> 00:41:11,736
CINEMA IS POLITICS'
MOST RADICAL EXPRESSION.
538
00:41:12,236 --> 00:41:15,173
{\an8}REVOLUTIONARY ART
SHOULD BE LIKE A SPELL
539
00:41:15,340 --> 00:41:19,077
{\an8}CAST ON A MAN THAT WON'T ALLOW HIM
TO LIVE IN THIS ABSURD REALITY.
540
00:41:19,243 --> 00:41:24,015
THROUGH HIS WORK HE SEARCHED FOR
A POLITICAL SOLUTION FOR BRAZILr
541
00:41:24,148 --> 00:41:27,185
FOR THE THIRD WORLDr
FOR THE WHOLE WORLD.
542
00:41:27,352 --> 00:41:31,089
1967
27 YEARS OLDr ENTRANCED EARTH
543
00:41:31,222 --> 00:41:35,193
Two yearsr 700 pages of script,
544
00:41:35,326 --> 00:41:38,596
43 actors, general staff of 9 peopler
545
00:41:38,730 --> 00:41:40,298
5 weeks shootingr
546
00:41:40,431 --> 00:41:43,868
and a budget of 100,000 cruzeiros novos,
547
00:41:44,002 --> 00:41:46,237
a new countryr Eldorado, is born.
548
00:41:46,371 --> 00:41:48,239
Entranced Earth is born.
549
00:41:48,373 --> 00:41:50,241
Before shooting startedr
550
00:41:50,375 --> 00:41:54,245
Glauber Rocha gathered
the main actors together
551
00:41:54,379 --> 00:41:56,014
for the first reading of the script.
552
00:41:58,282 --> 00:42:01,419
Three tlmes he was defeated
and started all over.
553
00:42:01,552 --> 00:42:05,156
Not even Christ could explain
what he did to himself.
554
00:42:05,289 --> 00:42:08,559
Therefore I answered that Christ...
555
00:42:09,360 --> 00:42:14,298
You have to come in
through a different way.
556
00:42:14,432 --> 00:42:16,300
Your plan will be establlshedr
557
00:42:16,434 --> 00:42:19,303
you have to do something
arter marrylng him.
558
00:42:19,437 --> 00:42:22,306
You have to show signs of fear.
559
00:42:22,440 --> 00:42:26,310
At the same timer the guy is a Iertist
560
00:42:26,444 --> 00:42:29,313
and writes political poems.
561
00:42:29,447 --> 00:42:32,283
He became more aware of things.
562
00:42:32,417 --> 00:42:35,987
And he felt it was time to change.
563
00:42:38,389 --> 00:42:43,361
First you have to go one step forwardr
then you look back.
564
00:42:43,494 --> 00:42:46,364
Then you look at it.
565
00:42:47,432 --> 00:42:50,468
Then you look at it.
566
00:42:51,369 --> 00:42:53,371
Our first contact was very funny.
567
00:42:53,504 --> 00:42:58,376
I was doing Liberdade, Liberdade,
which was very successful.
568
00:42:58,509 --> 00:43:00,378
"GIauber is here today!"
569
00:43:00,511 --> 00:43:04,348
As he didn't show up,
I thought he didn't like it.
570
00:43:04,482 --> 00:43:06,350
The following day, he came back.
571
00:43:06,484 --> 00:43:10,354
This timer he walked
around during the playr
572
00:43:10,488 --> 00:43:14,358
and we could see his face
under the Iights sometimesr
573
00:43:14,492 --> 00:43:16,394
and I wondered what was going on.
574
00:43:16,527 --> 00:43:19,397
After the playr once agalnr
he didn't talP to us.
575
00:43:19,530 --> 00:43:21,399
I thoughtr "How bizarre!"
576
00:43:21,532 --> 00:43:24,435
On the third dayr GIauber was there again.
577
00:43:24,569 --> 00:43:28,439
Only this timer he Iay on the floorr
578
00:43:28,573 --> 00:43:30,441
he bothered the spectatorsr
579
00:43:30,575 --> 00:43:34,445
he did something IIke that
right to my face.
580
00:43:34,579 --> 00:43:36,447
I wouldn't understand.
581
00:43:36,581 --> 00:43:39,417
This time he came to my
dressing room and said,
582
00:43:39,550 --> 00:43:42,420
"Paulor I want you to
play a role in a film.
583
00:43:42,553 --> 00:43:44,255
I want to make Entranced Earth.
584
00:43:44,388 --> 00:43:45,857
He gave me the scriptr
585
00:43:45,990 --> 00:43:48,860
and I was really touched
with the invltationr
586
00:43:49,026 --> 00:43:55,933
and especially because he watched me
from all posslble angles
587
00:43:56,067 --> 00:43:58,336
to make sure I was good enough.
588
00:43:58,469 --> 00:44:00,505
GIauber was a great director.
589
00:44:00,638 --> 00:44:04,509
He could get the best out of any actor.
590
00:44:04,642 --> 00:44:10,481
He made people do thelr bestr
591
00:44:10,615 --> 00:44:15,486
when you're about to go crazy
and don't know what to dor
592
00:44:15,620 --> 00:44:17,522
then it was good enough for hlm.
593
00:44:17,655 --> 00:44:22,560
HIs "take one" was when the
actor was completely exasperated.
594
00:44:23,027 --> 00:44:27,532
I remember a really long shot
of my last speech
595
00:44:28,199 --> 00:44:30,568
on the stairs of the Municipal Theater
596
00:44:30,735 --> 00:44:33,571
representing the Government Palacer
something oneiric.
597
00:44:33,704 --> 00:44:36,707
He stood behind the camerar sayingr
598
00:44:36,841 --> 00:44:40,178
"More, morer more!"
599
00:44:40,311 --> 00:44:41,846
He wanted more. More.
600
00:44:41,979 --> 00:44:45,316
I was exaggerating as much as I couldr
and he wanted more.
601
00:44:57,662 --> 00:45:03,601
I read an interview he gave
where the reporter asked himr
602
00:45:03,734 --> 00:45:08,873
"How did you get the
actors to act so well?"
603
00:45:09,006 --> 00:45:11,509
He answeredr "It's very simple.
604
00:45:11,642 --> 00:45:15,980
I get on their newesr
and when they're about to fightr
605
00:45:16,113 --> 00:45:17,315
I tell them to do It."
606
00:45:18,349 --> 00:45:20,618
He used to make me cry
607
00:45:20,751 --> 00:45:24,655
because it was very dlsappointing to me.
608
00:45:24,789 --> 00:45:28,326
The mfyh of Black Godr White Devil.
609
00:45:30,728 --> 00:45:34,665
It was totally different
than what I thought.
610
00:45:34,799 --> 00:45:38,669
For exampler at that time,
the films were dubbedr
611
00:45:38,803 --> 00:45:43,708
and he was always interrupting us.
612
00:45:43,841 --> 00:45:48,746
For an actorr it's awful to shoot a scener
613
00:45:48,879 --> 00:45:51,415
and if it was a closed scene,
he stayed right here.
614
00:45:53,751 --> 00:45:58,489
RIght herer a few inches awayr screaming:
615
00:45:58,623 --> 00:46:02,326
"Cry! Scream! Scream!"
616
00:46:02,927 --> 00:46:04,295
Do you understand?
617
00:46:05,796 --> 00:46:11,736
It went against everything I dreamed of.
618
00:46:11,869 --> 00:46:16,607
Pause, silencer understandlngr
619
00:46:16,741 --> 00:46:19,744
emotionr techniquer
620
00:46:19,877 --> 00:46:21,746
relationship with the lens.
621
00:46:22,680 --> 00:46:27,385
And he blew up the lenses,
he broke them apart.
622
00:46:27,518 --> 00:46:32,923
The 50s, the 18s, the 75sr
he blew them all up.
623
00:46:33,057 --> 00:46:39,797
Jardel became so stupefied
that he wasn't able to do anything.
624
00:46:39,930 --> 00:46:43,801
Glauber directed everything.
"Raise your right eyebrowi
625
00:46:43,934 --> 00:46:48,572
Look to the left, look down, talk,
now you can talkl"
626
00:46:48,706 --> 00:46:49,607
That's how it was.
627
00:46:50,541 --> 00:46:52,376
Beyond love.
628
00:46:53,210 --> 00:46:55,012
Beyond life.
629
00:46:56,580 --> 00:46:57,682
It's late.
630
00:46:57,815 --> 00:47:03,054
GIauber wrote one filmr
filmed a second oner
631
00:47:03,187 --> 00:47:05,022
and produced a third one.
632
00:47:05,589 --> 00:47:09,427
Any of those
would have been a great film.
633
00:47:10,895 --> 00:47:13,631
He knew what he was doingr
it was impressive.
634
00:47:13,764 --> 00:47:18,836
But he let the moment guide him too much.
635
00:47:18,969 --> 00:47:20,705
He did whatever came up in hls mlnd.
636
00:47:20,838 --> 00:47:23,541
ENTRANCED EARTH BECOMES THE BANNER
637
00:47:23,674 --> 00:47:26,844
OF THE REVOLUTIONARY FIGHT.
638
00:47:26,977 --> 00:47:29,980
{\an8}BANNER CARRIED
BY THE FRENCH STUDENTSr
639
00:47:30,114 --> 00:47:33,184
{\an8}WHO SHOWED THE FILM
ON THE WALLS OF PARIS
640
00:47:33,317 --> 00:47:35,786
{\an8}AND NANTERRE DURING
THE PROTESTS IN 1968.
641
00:47:35,920 --> 00:47:38,189
I was thrown at the heart of my time.
642
00:47:38,322 --> 00:47:41,025
I raised my first banners.
643
00:47:41,158 --> 00:47:44,695
They came and made a flrer
my friends were killed,
644
00:47:44,829 --> 00:47:45,930
I was arrested.
645
00:47:46,063 --> 00:47:50,201
The left me in a fllthy cell for daysr
full of dead rats.
646
00:47:50,334 --> 00:47:52,336
They used electric shocks on mer
647
00:47:53,504 --> 00:47:57,608
they tortured mer and released mer
648
00:47:57,742 --> 00:47:59,410
leaving marPs.
649
00:47:59,543 --> 00:48:03,948
But I still carried
my placards and pamphlets.
650
00:48:04,081 --> 00:48:07,618
And never because of prlder
it was something biggerr
651
00:48:07,752 --> 00:48:10,287
in the name of the reasoning
of my feellngs.
652
00:48:10,421 --> 00:48:12,189
BETWEEN THE UNDERGROUND
AND THE BIG FILMr
653
00:48:12,323 --> 00:48:13,824
GLAUBER CHOOSES BOTH OF THEM.
654
00:48:13,958 --> 00:48:16,427
COMMERCIAL VANGUARD
655
00:48:16,927 --> 00:48:18,162
1968
29 YEARS OLD - CpNCER
656
00:48:18,295 --> 00:48:21,866
The telephone rangr It was GIauber saying,
657
00:48:21,999 --> 00:48:25,836
"Carvana, tomorrow at eight
at Mapar we're shooting."
658
00:48:29,073 --> 00:48:30,341
I was surprised.
659
00:48:31,609 --> 00:48:35,012
I saidr "What do you mean,
tomorrow at eight at Mapa?
660
00:48:35,146 --> 00:48:37,982
Are we going to Milagres?"
661
00:48:38,115 --> 00:48:41,018
Antonio das Mortes was made
in Milagres, like The Guns.
662
00:48:41,152 --> 00:48:45,022
He saidr "Noi We're doing it herer
starting tomorrow.
663
00:48:45,156 --> 00:48:47,291
It doesn't matter what it isr
tomorrow at eight."
664
00:48:47,425 --> 00:48:51,061
And I saldr "GIauberr
can you tell me what film?"
665
00:48:51,195 --> 00:48:54,064
"Nor I don't have toi
Tomorrow at Mapa at eight!"
666
00:48:54,198 --> 00:48:56,066
I askedr "With whom?"
667
00:48:56,200 --> 00:49:01,071
"Odeter you, Pitanga, Rogério Duarte"...
668
00:49:03,741 --> 00:49:05,075
I saidr "It's okay."
669
00:49:05,209 --> 00:49:09,079
I called Odete and asked her
if she had spoken to GIauber.
670
00:49:09,213 --> 00:49:12,049
She said she had.
671
00:49:12,183 --> 00:49:15,085
She asked me about the film,
but I didn't know anything.
672
00:49:17,154 --> 00:49:20,124
At 8:00 a.m. we were all there,
it was like an order.
673
00:49:21,158 --> 00:49:23,093
If Glauber said so,
it was like an order!
674
00:49:23,227 --> 00:49:25,563
And that's how I made a film
with GIauber Rocha.
675
00:49:25,696 --> 00:49:28,098
I don't know what it is about.
676
00:49:28,232 --> 00:49:32,269
I've never seen it,
and it's called Cáncer.
677
00:49:32,436 --> 00:49:34,138
1969
30 YEARS OLDr ANTONIO DAS MORTES,
678
00:49:34,271 --> 00:49:37,274
BEST DIRECTION
CANNES FILM FESTIVAL.
679
00:49:43,614 --> 00:49:44,715
Go, António.
680
00:49:47,184 --> 00:49:49,153
I share the enemy with you.
681
00:49:51,188 --> 00:49:54,191
But you fight with your courager
682
00:49:54,325 --> 00:49:56,227
and I fight in your shadow.
683
00:49:58,229 --> 00:49:59,964
Nor professor.
684
00:50:01,232 --> 00:50:04,235
Fight with the power of your Ideas.
685
00:50:05,236 --> 00:50:07,037
They're more valuable than I am.
686
00:50:07,171 --> 00:50:10,207
When he finished Antonio das Mortes,
687
00:50:10,374 --> 00:50:17,214
he was considered the most Important
filmmaker outslde Hollywood.
688
00:50:17,348 --> 00:50:20,784
The film was very successfulr
including with the public.
689
00:50:20,918 --> 00:50:22,453
It was the foreign film that year,
690
00:50:22,586 --> 00:50:25,256
with the largest box office
gross in France.
691
00:50:25,389 --> 00:50:28,225
In his mindr he thought
of it as a Western,
692
00:50:28,359 --> 00:50:31,295
that it was a little commerclal.
He didn't like this fllm very much.
693
00:50:31,428 --> 00:50:33,264
It's incredibler very stranger
694
00:50:33,397 --> 00:50:37,268
these two filmsr Cáncer
and Antonio das Mortes.
695
00:50:37,401 --> 00:50:42,840
They're two sides
of the same inspiration.
696
00:50:53,817 --> 00:50:57,421
THIRD WORLD
697
00:50:57,588 --> 00:50:59,657
1970
31 YEARS OLDr THE LION HAS SEVEN HEADS
698
00:50:59,790 --> 00:51:01,091
CONGOr AFRICA
699
00:51:01,225 --> 00:51:06,330
The Lion Has 7 Heads is a beautiful film.
700
00:51:06,463 --> 00:51:11,335
It's Glauber's planetary vision
that went to Africa
701
00:51:11,468 --> 00:51:16,340
in search of his African roots,
during that crazy time,
702
00:51:16,473 --> 00:51:20,344
the political situation, the guerrilla.
703
00:51:20,477 --> 00:51:25,316
And the characters:
Carvanar the colonialist.
704
00:51:25,449 --> 00:51:27,318
There is a guerrilla,
705
00:51:27,451 --> 00:51:31,355
and also the African people
who were betrayed.
706
00:51:31,488 --> 00:51:33,190
I love this film.
707
00:51:33,324 --> 00:51:36,360
I'm not interested
in making money with films,
708
00:51:36,493 --> 00:51:38,362
or in being a part of the film industry.
709
00:51:38,495 --> 00:51:43,400
I think that the film industry
is the cinema's death sentence.
710
00:51:43,567 --> 00:51:50,407
I'm not interested in turning the cinema
into a mass consumption product.
711
00:51:50,541 --> 00:51:52,943
This is pure demagogy.
712
00:51:53,077 --> 00:51:56,413
If I wanted to make money,
I would make commercial films,
713
00:51:56,547 --> 00:51:59,383
which I can do very wellr
but I don't want to,
714
00:51:59,516 --> 00:52:02,386
and I think it's immoral.
715
00:52:02,519 --> 00:52:06,390
My goal is to establish a dialogue
with the audience,
716
00:52:06,523 --> 00:52:10,427
but without cheating them
during ninety minutes
717
00:52:10,561 --> 00:52:14,031
while they pay to sit there naively.
718
00:52:14,164 --> 00:52:16,433
And then your conscience says:
719
00:52:16,567 --> 00:52:21,472
"That's exactly what you
have to do! Very welli
720
00:52:21,605 --> 00:52:23,474
It's making good money
and people like it."
721
00:52:23,607 --> 00:52:25,476
This is a reactionary way of thinking
722
00:52:25,609 --> 00:52:28,479
of certain Brazilian critics
and producers.
723
00:52:28,612 --> 00:52:31,949
We must put an end to it.
724
00:52:32,082 --> 00:52:35,686
1971 R GLAUBER'S EXILE
725
00:52:35,819 --> 00:52:41,392
The tropicáIia years
were very important to GIauber
726
00:52:41,558 --> 00:52:48,465
because it was the time
when he actually decided to go to exile.
727
00:52:48,599 --> 00:52:50,467
Ne had to.
728
00:52:50,601 --> 00:52:55,205
In 1971, things were
complicated here in Brazil,
729
00:52:55,339 --> 00:52:59,810
so he went to Chiler Cubar
730
00:52:59,943 --> 00:53:03,447
New York, Paris, Rome.
731
00:53:10,587 --> 00:53:13,724
{\an8}GLAUBER GOES TO THE US
732
00:53:13,857 --> 00:53:18,562
I arrived in New York on March 15r 1971.
733
00:53:18,696 --> 00:53:22,599
Around April 1st, 1971 ,
734
00:53:24,601 --> 00:53:29,573
GIauber comes up
with something fantastic.
735
00:53:29,707 --> 00:53:32,609
On his Ieftr Rubens Gerchman.
736
00:53:32,743 --> 00:53:35,612
On his rightr Naná Vasconcelos.
737
00:53:35,746 --> 00:53:39,616
GIauber Rocha asked me
what I was doing therer
738
00:53:39,750 --> 00:53:41,618
so I asked him the same question.
739
00:53:41,785 --> 00:53:47,624
He saidr "I want to maPe a film in Chile
with Norma Bengell.
740
00:53:47,758 --> 00:53:50,627
Come Live with me."
741
00:53:50,761 --> 00:53:53,163
And I answered, "Right away."
742
00:53:53,297 --> 00:53:58,435
Ne was the first important Brazilian
to arrive in New York.
743
00:53:58,569 --> 00:54:04,641
There was a magazlne called
Evergreen. We bought it.
744
00:54:04,775 --> 00:54:07,678
To our surpriser
there were 20 pages about him.
745
00:54:07,811 --> 00:54:11,648
So he was treated IiPe
an important person.
746
00:54:11,782 --> 00:54:15,385
It was GIauber and Godardr at that Ievel.
747
00:54:15,519 --> 00:54:22,292
But he really liked LSD,
and he was frequently high.
748
00:54:23,227 --> 00:54:27,698
All those muslcians did it,
749
00:54:27,831 --> 00:54:30,701
and he was always with them.
750
00:54:31,769 --> 00:54:37,307
I remember that Gato Barbleri
was his inseparable friend.
751
00:54:37,441 --> 00:54:41,712
He talked to Norma Bengell
on the phone in one corner.
752
00:54:41,845 --> 00:54:44,715
I was in the other corner
cooking feijoadar
753
00:54:44,848 --> 00:54:47,751
and Naná played the berimbau.
754
00:54:48,719 --> 00:54:53,457
But he was always calling Perur Mexico...
755
00:54:53,590 --> 00:54:59,763
"I want to talk to AIvarado.
I want to make a film about him."
756
00:54:59,897 --> 00:55:01,765
When he left the studio,
757
00:55:01,899 --> 00:55:05,769
there was a huge phone bill.
758
00:55:05,903 --> 00:55:09,773
Everything was abundant,
he had no Iimitsr
759
00:55:09,907 --> 00:55:11,408
always overflowing.
760
00:55:12,843 --> 00:55:13,777
THIRD WORLD
761
00:55:24,388 --> 00:55:28,258
GLAUBER IS INVITED TO FILM IN HOLLYWOOD
AN ADAPTATION OF WILD PALMS.
762
00:55:29,293 --> 00:55:31,829
Wild Palms is a noveI
763
00:55:31,962 --> 00:55:37,568
published in 1946 or 1947.
764
00:55:39,903 --> 00:55:44,842
The main thing about this book
765
00:55:44,975 --> 00:55:47,845
is that it was achronological,
766
00:55:47,978 --> 00:55:50,848
IIke Last Year at Marienbad,
767
00:55:50,981 --> 00:55:54,852
started In the middler skipped to the end.
768
00:55:54,985 --> 00:55:58,889
And GIauber wanted to do itr
769
00:55:59,022 --> 00:56:01,892
because in 1971 R
the book was released again
770
00:56:02,025 --> 00:56:05,896
in its original versionr
just like Faulkner had wanted It.
771
00:56:06,029 --> 00:56:10,067
Glauber was thinking
about making this film
772
00:56:10,200 --> 00:56:13,804
when he came back from Chile,
but it never happened.
773
00:56:13,937 --> 00:56:17,908
{\an8}When we finlshed
the first drart of the scriptr
774
00:56:18,041 --> 00:56:20,911
{\an8}we were going to submit
it to Anderson and Roberts
775
00:56:21,044 --> 00:56:22,446
{\an8}for thelr approval.
776
00:56:22,980 --> 00:56:24,882
{\an8}They owned the copyright of the book.
777
00:56:25,015 --> 00:56:27,885
{\an8}They argued and GIauber
said that he never accepted
778
00:56:28,051 --> 00:56:32,923
{\an8}the Brazilian dictatorshlp
and he wouldn't accept Hollywood's.
779
00:56:33,056 --> 00:56:35,225
{\an8}And they put an end to the project.
780
00:56:35,359 --> 00:56:36,660
I'M NOT AN EMPLOYEE OF A STUDIO
781
00:56:36,793 --> 00:56:39,963
I FILM WHATEVER I WANT TO FILM.
782
00:56:49,473 --> 00:56:53,977
For this film in Chiler
he wanted Norma BengelI
783
00:56:54,111 --> 00:56:56,980
as a member of Salvador
AIIende's governmentr
784
00:56:57,114 --> 00:56:58,949
in a redemption fllm.
785
00:56:59,082 --> 00:57:03,954
I remember he talked to a lot of people,
786
00:57:04,087 --> 00:57:07,024
including very capable peopler
such as Afonso Beato,
787
00:57:07,157 --> 00:57:11,528
who was beginning his
career as a photographer.
788
00:57:13,096 --> 00:57:17,034
GIauber said that a coup d'état
was about to happen In Chile.
789
00:57:18,101 --> 00:57:20,170
That's why he was in a hurry.
790
00:57:20,304 --> 00:57:25,042
It started with a long table
covered with dry Ieaves.
791
00:57:25,175 --> 00:57:28,045
Everything was dry, Iifeless.
792
00:57:28,178 --> 00:57:32,015
I gave testimoniesr
holding Marighella's pictures.
793
00:57:32,182 --> 00:57:37,054
He wanted me to climb the Andes naked
with a naPed guerrilla.
794
00:57:37,187 --> 00:57:39,122
But the guy didn't want to do it.
795
00:57:39,256 --> 00:57:44,094
He came with an oneirlc vlsionr
with a viewr
796
00:57:44,227 --> 00:57:49,099
but without a project
of a film about the revolutlon.
797
00:57:49,232 --> 00:57:51,101
He had a few images of the Antichrist.
798
00:57:51,234 --> 00:57:54,104
We looked at the mountains and saldr
799
00:57:54,237 --> 00:57:56,106
"The Antichrlst is coming!"
800
00:57:56,239 --> 00:57:58,108
"Louder!"
801
00:57:58,241 --> 00:58:00,110
"The Antichrlst is coming!"
802
00:58:01,178 --> 00:58:03,113
"Say what he will do."
803
00:58:03,246 --> 00:58:05,082
"He will come!"
804
00:58:05,215 --> 00:58:08,085
There wasn't any...
805
00:58:08,218 --> 00:58:12,089
There wasn't a script.
It was an adventure.
806
00:58:12,222 --> 00:58:18,128
The minute GIauber worked on a film
807
00:58:18,261 --> 00:58:22,132
that approached a metaphorr
808
00:58:22,265 --> 00:58:26,003
he didn't really want to make a film
about the Brazilian Revolution.
809
00:58:26,136 --> 00:58:32,042
Then GIauber argued with the guerrillas.
810
00:58:32,175 --> 00:58:37,080
I don't know exactly what It wasr
but GIauber stopped the film.
811
00:58:37,214 --> 00:58:41,151
{\an8}He started fighting
with his Brazilian frlends.
812
00:58:41,284 --> 00:58:43,286
{\an8}And everybody ended up fighting.
813
00:58:44,221 --> 00:58:45,422
{\an8}It was a real disaster.
814
00:58:45,589 --> 00:58:51,862
"I do not admit that people ask me for
an ideological certificate of what I do."
815
00:58:52,763 --> 00:58:56,233
{\an8}GIauber just wouldn't get along
816
00:58:56,366 --> 00:59:03,240
{\an8}with people who were used to
a military discipline.
817
00:59:03,373 --> 00:59:08,211
{\an8}For someone as contradictory
and idealistic as GIauberr
818
00:59:08,345 --> 00:59:09,246
{\an8}that wouldn't work.
819
00:59:10,313 --> 00:59:13,216
I HAVEN'T SERVEDr AND I WON'T SERVE
820
00:59:13,350 --> 00:59:15,719
ANY CULTURALr ECONOMICALr
POLITICAL POWER CENTER.
821
00:59:21,591 --> 00:59:25,095
{\an8}I'm glad you are making
a film about GIauber.
822
00:59:25,228 --> 00:59:26,263
{\an8}Why?
823
00:59:26,396 --> 00:59:32,302
{\an8}Because he doesn't have
the recognition he deserves.
824
00:59:32,436 --> 00:59:35,305
{\an8}He was discriminated agalnst
825
00:59:35,439 --> 00:59:37,307
{\an8}because of his attitude
towards the military.
826
00:59:37,441 --> 00:59:38,608
It was...
827
00:59:41,178 --> 00:59:45,282
{\an8}When the intellectuals get into politics,
they always stumble.
828
00:59:45,415 --> 00:59:47,317
{\an8}But he stumbled in the right directionr
829
00:59:47,451 --> 00:59:51,288
{\an8}because I think he was
a nationalist above allr
830
00:59:51,421 --> 00:59:54,724
{\an8}a revolutlonary nationalist.
831
00:59:54,858 --> 00:59:57,194
{\an8}He believed there was a solution.
832
00:59:57,327 --> 01:00:01,731
{\an8}I didn't know him at the time.
833
01:00:01,865 --> 01:00:03,767
{\an8}But anyway...
834
01:00:04,401 --> 01:00:08,805
{\an8}He had an anarchist vitality.
835
01:00:10,440 --> 01:00:15,178
{\an8}He was an artistr
and a really nice person.
836
01:00:15,779 --> 01:00:19,249
{\an8}Did you see him in Cuba?
837
01:00:19,382 --> 01:00:23,120
{\an8}Yesr we used to meet at nlght.
838
01:00:23,253 --> 01:00:27,390
{\an8}I used to drink a IIttler but he smoked.
839
01:00:27,524 --> 01:00:32,395
{\an8}Those were relaxing moments,
a little surrealistr oneiric.
840
01:00:32,529 --> 01:00:35,265
{\an8}I remember him as an oneiric person.
841
01:00:35,398 --> 01:00:38,401
{\an8}He Iived his dreams
as much as the realityr
842
01:00:38,535 --> 01:00:42,772
{\an8}but he was an amazingly intultlve person.
843
01:00:42,906 --> 01:00:48,845
{\an8}It was difficult to be crltlcal of Cuba.
844
01:00:52,149 --> 01:00:54,417
{\an8}Because of the ways
in which things happened In Cuba,
845
01:00:54,551 --> 01:00:57,420
{\an8}the type of information
we had access to at that timer
846
01:00:57,554 --> 01:01:01,424
{\an8}and the enormous solidarity
that Cuba awakened in usr
847
01:01:01,558 --> 01:01:03,460
{\an8}during the first years.
848
01:01:03,593 --> 01:01:09,466
{\an8}To be convincingr the critical
standpoints had to be clear,
849
01:01:09,599 --> 01:01:11,468
{\an8}based on real factsr
850
01:01:11,601 --> 01:01:16,473
{\an8}marked by a very coherent
political discourse.
851
01:01:16,606 --> 01:01:19,509
{\an8}Very few people achieved this.
852
01:01:19,643 --> 01:01:22,512
Nowadays it's different,
but not back then.
853
01:01:22,646 --> 01:01:25,482
{\an8}With GIauberr this kind of
conversatlon was difficultr
854
01:01:25,615 --> 01:01:27,484
{\an8}because he mixed his personal sider
855
01:01:27,617 --> 01:01:30,086
{\an8}ideologicalr political,
and the cinematographlcal.
856
01:01:31,555 --> 01:01:34,191
{\an8}But time has shown
857
01:01:34,324 --> 01:01:40,497
{\an8}that many of the critiques were right.
858
01:01:40,630 --> 01:01:44,534
{\an8}Talking to him was difficult.
859
01:01:44,668 --> 01:01:46,336
{\an8}At least for me.
860
01:01:46,503 --> 01:01:49,506
IN PRACTICEr IDEOLOGIES
HAVE CAUSED BLOODY DISASTERS.
861
01:01:49,639 --> 01:01:51,675
IN APRIL, 1974,
GLAUBER GOES TO PORTUGAL
862
01:01:51,841 --> 01:01:54,911
TO FILM AS ARMAS E O POVOr
A FILM ABOUT THE CARNATION REVOLUTION
863
01:01:55,045 --> 01:01:57,047
IN 76r IN ITALYr HE FILMS CLARO.
864
01:01:57,180 --> 01:02:00,550
How do you feel today, the 1st of May?
865
01:02:00,684 --> 01:02:04,054
I don't have enough words
to thank the universe.
866
01:02:04,187 --> 01:02:08,592
{\an8}GIauber and I were friends
867
01:02:08,725 --> 01:02:12,596
{\an8}during the 60sr 70s in Romer
868
01:02:12,729 --> 01:02:17,067
{\an8}which was a deposit of experiencer
869
01:02:17,200 --> 01:02:20,570
{\an8}an extremely creative period.
870
01:02:20,704 --> 01:02:27,644
{\an8}Glauber had great knowledge
and an amazing ability to think.
871
01:02:27,777 --> 01:02:32,649
{\an8}Ne was fascinating.
872
01:02:33,650 --> 01:02:39,089
{\an8}He used to raver
but with a lot of reasoning.
873
01:02:39,222 --> 01:02:42,659
{\an8}Glauber was a citizen of the world,
874
01:02:42,792 --> 01:02:47,664
{\an8}so to see him away
from his national context
875
01:02:47,797 --> 01:02:50,033
{\an8}was normal.
876
01:02:50,300 --> 01:02:52,302
THIRD WORLD
877
01:02:52,435 --> 01:02:58,575
GLAUBER GETS READY
TO RETURN TO BRAZIL
878
01:02:58,708 --> 01:03:03,580
After the tropicáIia periodr
879
01:03:03,713 --> 01:03:06,016
which was an important periodr
880
01:03:07,784 --> 01:03:11,721
because when we spoke
to GIauberr he mentioned
881
01:03:11,855 --> 01:03:16,726
AIbuquerque Limar
General Geiselr all of them.
882
01:03:16,860 --> 01:03:20,730
He was preparing the speech
883
01:03:20,864 --> 01:03:24,734
and talPed about the idea of détente.
884
01:03:24,901 --> 01:03:28,638
Sometimes he mentioned Velasco AIvarador
his Peruvian experience.
885
01:03:29,806 --> 01:03:33,777
THE ROADS TO THE APPROACH:
886
01:03:36,546 --> 01:03:43,153
GLAUBER MEETS JANGO IN PARIS
887
01:03:43,286 --> 01:03:47,757
We were at a Frenchman's houser
I won't say his name,
888
01:03:47,891 --> 01:03:50,460
with another Brazilian girl.
889
01:03:50,593 --> 01:03:54,064
GIauberr Jangor Debray and myself.
890
01:03:54,230 --> 01:03:58,902
Jango did an analysis of Latin America
completely.
891
01:04:01,538 --> 01:04:06,810
Brilliantr without any theoryr
theoretical Ianguager
892
01:04:06,943 --> 01:04:09,846
with great political sensitivityr he said
893
01:04:09,979 --> 01:04:11,781
that Torrez would be
overthrown in Boliviar
894
01:04:11,915 --> 01:04:13,550
Perón would come back in Argentinar
895
01:04:13,683 --> 01:04:15,852
and that General Geisel
would be our next president.
896
01:04:15,985 --> 01:04:22,926
I arrived at Gerard Leclery's house
on Foch Avenue with Régis.
897
01:04:23,760 --> 01:04:25,929
Jango and GIauber were already there.
898
01:04:26,062 --> 01:04:28,932
I think there were some filmmakers.
899
01:04:29,065 --> 01:04:31,935
It was such a long time agor
I can't remember very well.
900
01:04:32,302 --> 01:04:33,937
We had a meeting there.
901
01:04:34,070 --> 01:04:38,274
Régis Debray didn't say a word
during the entlre evening.
902
01:04:39,008 --> 01:04:41,945
Jango wasn't comfortable with that.
903
01:04:42,078 --> 01:04:43,947
Later onr GIauber said:
904
01:04:44,080 --> 01:04:46,583
"Régis didn't say anything
because he was jealous of you."
905
01:04:46,716 --> 01:04:49,953
{\an8}We talked about how to
overthrow the militaryr
906
01:04:50,086 --> 01:04:52,956
{\an8}how to help Brazil
get rid of the dictatorshipr
907
01:04:53,089 --> 01:04:54,724
{\an8}of course.
908
01:04:55,158 --> 01:04:57,994
I've told this
to more than 20 journalistsr
909
01:04:58,128 --> 01:04:59,996
but they won't publish It.
910
01:05:00,130 --> 01:05:04,000
They prefer to keep the image
of GIauber as someone crazyr
911
01:05:04,134 --> 01:05:06,269
who wrote a Ietter...
912
01:05:11,040 --> 01:05:13,376
II GLAUBER SIGNALS TO THE MILITARY
913
01:05:13,543 --> 01:05:18,982
I had sent GIauber a long questionnairer
and at the last minute, I got a Ietter.
914
01:05:19,115 --> 01:05:21,985
I looked at the Ietter and got desperater
915
01:05:22,118 --> 01:05:26,022
thinking that I had missed
the interview with GIauber.
916
01:05:26,156 --> 01:05:29,058
I requested an interviewr
and he sent me a Ietter.
917
01:05:30,093 --> 01:05:36,299
When Don't got home, intrigued,
I decided to read the letter.
918
01:05:36,433 --> 01:05:40,069
At the end it said,
"You can publish it, if you want."
919
01:05:40,203 --> 01:05:45,074
I called Cacár who had been to Italyr
920
01:05:45,208 --> 01:05:50,079
and asPed him to read
the Ietter. He did It.
921
01:05:50,213 --> 01:05:53,049
And Cacá said it was
exactly what he had in mind.
922
01:05:53,183 --> 01:05:56,052
I read the Ietter again and noticed
923
01:05:56,186 --> 01:05:58,521
that I was supposed
to publlsh the ending.
924
01:05:58,688 --> 01:06:01,057
ANTONIO DAS MORTES
HAS SPOKEN TO THE THIRD WORLD
925
01:06:01,191 --> 01:06:03,827
HE'S ALVARADO AND RADHAFI'S PROPHET.
926
01:06:03,960 --> 01:06:07,130
For exampler when GIauber
came to see me in Peru,
927
01:06:07,263 --> 01:06:10,133
I told hlmr "I Iert AIIende behind.
928
01:06:10,266 --> 01:06:15,138
I was his assistant in Chiler
929
01:06:15,271 --> 01:06:18,141
because I can't see Brazil
becoming a socialist country
930
01:06:18,274 --> 01:06:20,143
through the elections.
931
01:06:20,276 --> 01:06:22,145
But it's not imposslble that
932
01:06:22,278 --> 01:06:26,115
the military, instead of being
the armed hand of the dominant class
933
01:06:26,249 --> 01:06:28,151
and Iandownersr
934
01:06:28,284 --> 01:06:30,153
change their position.
935
01:06:30,286 --> 01:06:32,956
I'm studying here how a military group
936
01:06:33,089 --> 01:06:35,158
made and is still making
the Peruvian revolution."
937
01:06:35,291 --> 01:06:37,160
He got interestedr
and wanted to meet peopler
938
01:06:37,293 --> 01:06:39,162
and he learned a lot about it.
939
01:06:39,295 --> 01:06:43,032
That's why GIauber
wrote those crazy words to Zuenirr
940
01:06:43,166 --> 01:06:47,504
"The two greatest geniuses
are Golbery and Oarcy. "
941
01:06:47,637 --> 01:06:50,206
He wanted me to get close to Golberyr
942
01:06:50,340 --> 01:06:54,210
the mentors of the coup d'étatr
that they called revolutionr
943
01:06:54,344 --> 01:06:57,180
so that I could make them
come to their senses.
944
01:06:57,347 --> 01:07:01,985
Of courser the Iert never understood it
and was against GIauber.
945
01:07:02,118 --> 01:07:05,455
But there was a reasoningr a Iogic
946
01:07:05,588 --> 01:07:09,826
to GIauber's apparent absurd behavlor.
947
01:07:09,959 --> 01:07:12,529
And because of one of those
coincidences that GIauber Iovedr
948
01:07:12,662 --> 01:07:16,232
he arrived in Portugal
on the same day Figueiredo did.
949
01:07:16,366 --> 01:07:19,269
He was in Sintrar
when they offered Figuelredo
950
01:07:19,402 --> 01:07:22,672
a Iunch party in the village.
951
01:07:23,072 --> 01:07:26,276
That dayr GIauber woke up really early.
952
01:07:26,409 --> 01:07:31,247
I joke around that he did things
he never did on the same day:
953
01:07:31,381 --> 01:07:35,118
he shaved, took a showerr
and combed his hair.
954
01:07:35,251 --> 01:07:39,822
And went therer
where 3r000 people were waiting.
955
01:07:39,956 --> 01:07:44,527
When Figueiredo arrlvedr he said:
"You are a great president."
956
01:07:45,328 --> 01:07:51,401
Figueiredo Recognized him and said,
"I really like your films."
957
01:07:52,168 --> 01:07:55,338
RIOr AUGUST 22r 1981 BAMBINA CLINIC
958
01:07:55,471 --> 01:07:59,342
Glauber is dead. He is
not wearing an overcoatr
959
01:07:59,475 --> 01:08:02,345
he's not wearing a tuxedo,
he's not wearing a tie.
960
01:08:02,512 --> 01:08:07,550
The dead is dead. He hasn't shaved,
his hair is not combed,
961
01:08:07,684 --> 01:08:10,219
he's not wearing a buttonhole flower,
962
01:08:10,353 --> 01:08:13,089
he's not wearing
patent-leather shoes,
963
01:08:13,256 --> 01:08:16,559
he's not pretending he's alive,
won't be a member of the Academy.
964
01:08:16,693 --> 01:08:21,431
The dead is dead, on the bed,
in an empty room.
965
01:08:21,564 --> 01:08:24,734
As he can no longer eat,
as he can no longer die,
966
01:08:24,867 --> 01:08:28,371
nurses and doctors
won't take care of him anymore.
967
01:08:28,504 --> 01:08:31,407
They crossed his hands
and tied his feet.
968
01:08:31,541 --> 01:08:35,078
There's nothing left to do
but pack him and throw him away.
969
01:10:05,201 --> 01:10:07,303
Misery
970
01:10:07,437 --> 01:10:14,043
Sunny morning
971
01:10:30,660 --> 01:10:32,628
Misery
972
01:11:10,566 --> 01:11:11,567
{\an8}Misery
973
01:11:11,734 --> 01:11:14,403
{\an8}BLESSED ARE THE CRAZYr FOR THEY ARE
THE ONES WHO INHERIT REASON.
974
01:11:17,740 --> 01:11:18,975
GLAUBER'S REVOLUTION
975
01:11:19,942 --> 01:11:24,313
INVADES CULTURAL SPACESr
TRANSCENDS POLITICAL BARRIERS
976
01:11:24,447 --> 01:11:25,948
AND THE BARRIERS OF PROHIBITION.
977
01:11:26,082 --> 01:11:31,320
Once he came to my place
and wanted to smoke pot.
978
01:11:31,487 --> 01:11:37,360
I told hlm to do it In the bedroom.
Jorge Amado and Zélia were also there.
979
01:11:37,493 --> 01:11:41,764
I told hlmr "Stay in
the bedroom and smoker
980
01:11:41,898 --> 01:11:43,766
I'll keep company with Jorge.
981
01:11:43,900 --> 01:11:47,770
Open the windowr
I hope we won't smell it
982
01:11:47,904 --> 01:11:50,773
from the IIving-room."
983
01:11:50,907 --> 01:11:56,779
He saidr "Ubaldor you could
say something to Jorge Iiker
984
01:11:56,913 --> 01:12:01,684
don't you want to try some?"
985
01:12:05,855 --> 01:12:07,089
I repliedr
986
01:12:08,891 --> 01:12:11,828
"No way! You talk to himi
987
01:12:11,961 --> 01:12:14,831
He cannot even hear
the word marijuana."
988
01:12:14,964 --> 01:12:17,834
I would never offer him marijuana
989
01:12:17,967 --> 01:12:20,837
or tell him that GIauber
had a bong with hashish
990
01:12:20,970 --> 01:12:24,674
for him to try.
991
01:12:24,807 --> 01:12:27,844
He also taught me something.
Why should we wear clothes?
992
01:12:27,977 --> 01:12:31,814
At least in your own privacyr
you should be naked.
993
01:12:31,948 --> 01:12:33,850
That's the Ieastr for a human being.
994
01:12:34,817 --> 01:12:38,354
-DId he talk about It?
-Nor he just did it.
995
01:12:39,922 --> 01:12:41,324
That's all.
996
01:12:50,800 --> 01:12:54,904
It was complicated because
I had to manage a companyr
997
01:12:55,037 --> 01:12:59,709
with a naPed directorr
partner and manager. It was tough.
998
01:12:59,842 --> 01:13:02,945
He arrived at 7:00 a.m.
999
01:13:03,079 --> 01:13:06,215
Sometimes he was the first one there.
He edited the films naked.
1000
01:13:06,349 --> 01:13:08,885
He visited me In Uruguay.
1001
01:13:09,018 --> 01:13:11,888
I was supposed to attend a meeting
1002
01:13:12,021 --> 01:13:15,925
with the candidate for presldency
1003
01:13:16,058 --> 01:13:17,927
and the main Uruguayan politiciansr
1004
01:13:18,060 --> 01:13:21,664
who wanted to talP to me about
Latin Amerlcan politics.
1005
01:13:21,797 --> 01:13:27,236
When GIauber found outr he went crazyi
1006
01:13:27,370 --> 01:13:31,974
He insisted
that I bring him alongr and I did.
1007
01:13:32,108 --> 01:13:36,979
I was talking to the head
of the University of Uruguayr
1008
01:13:37,113 --> 01:13:42,985
the candidater
a group of important people.
1009
01:13:43,119 --> 01:13:45,388
Then I smelled something.
1010
01:13:45,521 --> 01:13:50,026
It was GIauber smoking pot.
1011
01:13:52,028 --> 01:13:53,996
Smoking marijuana.
1012
01:13:54,130 --> 01:13:57,033
I didn't know what to do!
I thoughtr "He's crazy!
1013
01:13:57,166 --> 01:14:00,670
I hope people don't
realize what he's doingi"
1014
01:14:00,803 --> 01:14:04,040
And he smoked the entire
marijuana clgarette.
1015
01:14:04,206 --> 01:14:08,244
Then he put It out in a vase
and paid attention to our conversation.
1016
01:14:08,377 --> 01:14:12,615
1976
37 YEARS OLD - DI CAVALCANTI
1017
01:14:12,748 --> 01:14:15,918
He wanted to make a film
about DI Cavalcanti.
1018
01:14:16,052 --> 01:14:19,755
He asked me a lot of things
about paintingr
1019
01:14:19,889 --> 01:14:24,060
if I Iiked Portlnari
or Di Cavalcantl better.
1020
01:14:24,593 --> 01:14:30,066
"He painted our racer
he palnted Black women."
1021
01:14:30,199 --> 01:14:35,004
He gave a speech about
the mulatto in Di's work.
1022
01:14:35,171 --> 01:14:40,109
{\an8}IN 1976r GLAUBER SHOOTS THE FUNERAL
OF THE PAINTER DI CAVALCANTIr
1023
01:14:40,242 --> 01:14:42,111
{\an8}HIS LONGTIME FRIEND.
1024
01:14:42,244 --> 01:14:44,613
AS REQUESTED BY HIS FAMILYr
1025
01:14:44,747 --> 01:14:46,782
THE EXHIBITION OF THE FILM
WAS PROHIBITED.
1026
01:14:48,150 --> 01:14:52,922
{\an8}A WORLD MASTERPIECEr THIS SHORT FILM
WAS AWARDED IN CANNES IN 1977,
1027
01:14:53,055 --> 01:14:55,024
{\an8}ITS EXHIBITION REMAINS PROHIBITED
1028
01:14:55,157 --> 01:15:00,129
At 8:00 a.m.R GIauber knocPed on my door,
1029
01:15:00,262 --> 01:15:03,132
where I was editing Gordos E Magros.
1030
01:15:03,265 --> 01:15:06,135
And he told me about
DI Cavalcanti's death.
1031
01:15:06,268 --> 01:15:08,170
I had not even read the paper.
1032
01:15:08,337 --> 01:15:12,675
And he proposed that we made a film
about the last great modernist painter.
1033
01:15:12,808 --> 01:15:14,710
We arrived at the museum,
1034
01:15:14,844 --> 01:15:19,148
and there was a security guard
at the door
1035
01:15:19,281 --> 01:15:23,185
who asked us where we were
taking the equlpment.
1036
01:15:23,352 --> 01:15:28,190
GIauber replied that it was the New Cinema
paying its respects to Di Cavalcanti.
1037
01:15:28,324 --> 01:15:31,193
"Do you have anything
against the Cinema Novo?"
1038
01:15:31,327 --> 01:15:34,196
The guard said that only
GIobo network could go in.
1039
01:15:34,330 --> 01:15:37,199
GIauber repliedr
"GIobo is a television networkr
1040
01:15:37,333 --> 01:15:40,202
it's different. Please watch our car."
1041
01:15:40,336 --> 01:15:45,241
The guard helped us carry the equipment.
1042
01:15:45,374 --> 01:15:47,643
"Now let's get closer to the corpser
and I will remove
1043
01:15:47,777 --> 01:15:49,078
the handkerchief from his face,
1044
01:15:49,211 --> 01:15:51,547
and you start moving the camera
towards his facer
1045
01:15:51,680 --> 01:15:54,250
then t'll remove the handkerchief."
1046
01:15:55,284 --> 01:16:00,089
I started filming, then I saw Di's handsr
1047
01:16:00,222 --> 01:16:05,261
which had been crossedr
and reached his face.
1048
01:16:05,394 --> 01:16:10,266
Ne had a kind of smile on his face,
1049
01:16:10,399 --> 01:16:12,268
a dead person that had a great lifer
1050
01:16:12,401 --> 01:16:17,273
that didn't owe anything.
Di's amiable face,
1051
01:16:17,406 --> 01:16:21,577
some said it was ugly,
but extremely friendly.
1052
01:16:22,211 --> 01:16:25,281
The film won the special award in Cannes.
1053
01:16:25,414 --> 01:16:28,584
GIauber started screamingr "We won it!"
1054
01:16:28,717 --> 01:16:31,287
Brazil is so undewalued internatlonallyr
1055
01:16:31,420 --> 01:16:34,290
that an award like that
brings us some hope.
1056
01:16:34,423 --> 01:16:37,293
But I'm not really into success and fame.
1057
01:16:37,426 --> 01:16:39,295
DId you expect to win the award?
1058
01:16:39,428 --> 01:16:42,298
Of course I didr I Pnow what I do.
1059
01:16:42,431 --> 01:16:44,300
People think I'm crazyr but I'm not.
1060
01:16:48,404 --> 01:16:50,106
GIauber the Movier Labyrinth of BraziI
1061
01:16:50,239 --> 01:16:53,342
I BELIEVE THAT A MASTERPIECE
IS A PRODUCT OF MADNESS.
1062
01:16:53,476 --> 01:16:55,344
MADNESS LIKE THE LUCIDITY,
1063
01:16:55,478 --> 01:16:56,812
LIBERATION OF THE UNCONSCIOUS.
1064
01:16:56,979 --> 01:17:01,884
{\an8}When GIauber diedr you talked about
cultural murder. Do you still believe it?
1065
01:17:02,017 --> 01:17:05,621
Nor it was the corporatist paranoia
of the time.
1066
01:17:05,754 --> 01:17:10,292
It wasn't a cultural murderr
but I think GIauber died
1067
01:17:10,426 --> 01:17:14,396
because he wouldn't stand
IIving in this world today:
1068
01:17:14,530 --> 01:17:17,399
untranscendentr globalizedr
1069
01:17:17,533 --> 01:17:20,402
Iacking utopia, he wouldn't stand it.
1070
01:17:20,536 --> 01:17:27,409
Because GIauber was pure utopiar
he Iived for it.
1071
01:17:27,543 --> 01:17:31,413
If he had to adapt
to a world of marketlngr
1072
01:17:31,547 --> 01:17:33,415
a world of opportunismr
1073
01:17:33,549 --> 01:17:38,420
of the yuppie individualism,
and all this nonsense,
1074
01:17:38,554 --> 01:17:40,422
a world without heroesr
wlthout revolution...
1075
01:17:40,556 --> 01:17:41,991
The idea of revolution has ended.
1076
01:17:42,124 --> 01:17:47,463
He had a self-destructive side.
1077
01:17:47,596 --> 01:17:50,499
Sometimes he was very...
1078
01:17:52,034 --> 01:17:57,973
He tortured himself with his crazy ideas
1079
01:17:58,107 --> 01:18:00,042
and exaggerated.
1080
01:18:00,176 --> 01:18:01,610
He was always at the Iimit.
1081
01:18:02,278 --> 01:18:05,481
Whenever he wantedr he had discipline.
1082
01:18:06,015 --> 01:18:11,520
Even in hls chaotic way of studyingr
he made a very rigorous selection
1083
01:18:11,654 --> 01:18:14,523
of the material he would actually use.
1084
01:18:14,657 --> 01:18:18,527
But as a creatorr that hasty forcer
1085
01:18:18,694 --> 01:18:23,532
that came from his creative energy,
superseded it.
1086
01:18:23,666 --> 01:18:28,537
I don't know If the critics agree with mer
1087
01:18:28,671 --> 01:18:30,539
but GIauber ascended gradually
1088
01:18:30,673 --> 01:18:34,543
towards the Iiberation
of his unconscious world
1089
01:18:34,677 --> 01:18:38,948
that fermented inside him,
1090
01:18:39,081 --> 01:18:41,817
as you can see in The Age of the Earth.
1091
01:18:42,318 --> 01:18:45,554
GIauber was searching
for his own unconscious.
1092
01:18:45,688 --> 01:18:48,224
He vomited this unconscious all the time.
1093
01:18:48,357 --> 01:18:53,195
This is the period when
he walks around nakedr
1094
01:18:53,329 --> 01:18:57,600
or painted like an Indianr and...
Breaking all the rules.
1095
01:18:57,733 --> 01:19:01,604
It was the period of the
stormy production of
1096
01:19:01,737 --> 01:19:02,938
The Age of the Earth.
1097
01:19:04,673 --> 01:19:07,610
The five last years of his life.
1098
01:19:08,177 --> 01:19:11,614
The story of the alligator
happened in 1980r
1099
01:19:12,314 --> 01:19:16,018
a few months before his trip to Venice.
1100
01:19:16,986 --> 01:19:19,188
I heard he wasn't doing too wellr
1101
01:19:19,321 --> 01:19:23,792
and when I saw him,
he was in a state of distress.
1102
01:19:23,926 --> 01:19:28,530
"Tell Nélson Pereira dos Santos
that I need to see hlm."
1103
01:19:29,531 --> 01:19:31,667
So I asked somebody to fetch Nélsonr
1104
01:19:31,800 --> 01:19:34,670
and Kim sald they were
not talking to each otherr
1105
01:19:34,803 --> 01:19:36,438
and I Insisted.
1106
01:19:36,572 --> 01:19:38,073
So Nélson arrived
1107
01:19:39,074 --> 01:19:41,944
with Dr. AIexandrer an acupuncturistr
1108
01:19:42,745 --> 01:19:44,546
that GIauber had called.
1109
01:19:44,680 --> 01:19:47,449
The doctor opens his briefcase...
1110
01:19:49,218 --> 01:19:52,388
gets the needlesr
1111
01:19:52,521 --> 01:19:56,558
places a small mattress on the floor.
1112
01:19:57,459 --> 01:20:01,463
While watching himr GIauber has an idea.
1113
01:20:02,431 --> 01:20:05,734
He tells the doctor
to take care of Nélson firstr
1114
01:20:05,868 --> 01:20:07,736
because he needed It more.
1115
01:20:07,870 --> 01:20:09,738
Nélson didn't know what to do.
1116
01:20:09,872 --> 01:20:12,741
"Nélson, you have to try thisr
it's extraordinary.
1117
01:20:12,875 --> 01:20:15,778
Acupuncture should become
part of our culture."
1118
01:20:15,911 --> 01:20:20,716
Nélson immediatelyr
full of good intentionr
1119
01:20:20,849 --> 01:20:24,753
IIes on the mattressr
and the doctor begins
1120
01:20:24,887 --> 01:20:27,756
to insert the needlesr
and they were more effectlve
1121
01:20:27,890 --> 01:20:29,158
in GIauber than In Nélson.
1122
01:20:30,025 --> 01:20:32,961
Glauber asks the doctor,
"Oo you think I'm gonna die?'r
1123
01:20:33,095 --> 01:20:34,963
"Of course not!r'
1124
01:20:35,097 --> 01:20:40,969
"I'm being haunted
by this really strange presencer
1125
01:20:41,103 --> 01:20:42,971
an alligator."
1126
01:20:43,539 --> 01:20:45,974
"An alligator?"
1127
01:20:46,108 --> 01:20:47,976
"Do you thlnk I'm crazy?"
1128
01:20:48,110 --> 01:20:49,778
"Of course not!"
1129
01:20:49,912 --> 01:20:53,782
"Take this alligator away from the beachi"
1130
01:20:53,916 --> 01:20:55,984
He Iived intensively!
1131
01:20:56,118 --> 01:21:00,989
Destruction and construction
walked side by side.
1132
01:21:01,123 --> 01:21:05,994
Hélio Pellegrino said in the funeral:
1133
01:21:06,128 --> 01:21:08,664
"It was inevitabler
1134
01:21:08,797 --> 01:21:14,036
he burned both ends of the candle."
1135
01:21:14,169 --> 01:21:21,043
The two flames would eventually meet.
1136
01:21:21,477 --> 01:21:25,013
GIauber was a great friendr a brother.
1137
01:21:25,147 --> 01:21:29,051
I miss him and think of him all the time.
1138
01:21:30,119 --> 01:21:33,055
He shouldn't have died.
1139
01:21:33,188 --> 01:21:36,058
He died as a hero and a fool.
1140
01:21:36,725 --> 01:21:39,061
1980
41 YEARS OLD - THE AGE OF THE EARTH
1141
01:21:39,194 --> 01:21:41,130
LAST FILM BY GLAUBER ROCHA
1142
01:21:41,263 --> 01:21:43,031
MANY FRIENDS HAVE
FOLLOWED DIFFERENT PATHSr
1143
01:21:43,198 --> 01:21:45,234
I'M WITH A FEW WAITING FOR
THE APOCALYPSE AND THE NEW UTOPIA
1144
01:21:45,367 --> 01:21:47,102
Blessed are...
1145
01:21:49,004 --> 01:21:50,506
those...
1146
01:21:51,173 --> 01:21:53,108
who are hungryi
1147
01:21:53,242 --> 01:21:55,177
Blessed are
1148
01:21:56,178 --> 01:21:58,347
the miserable!
1149
01:21:59,648 --> 01:22:03,619
For they wlll be Iiberated!
1150
01:22:04,153 --> 01:22:09,124
{\an8}In an environment
such as the Venice Festivalr
1151
01:22:09,258 --> 01:22:13,128
{\an8}that film was difficult and too long.
1152
01:22:14,363 --> 01:22:16,131
{\an8}Everyone was puzzled.
1153
01:22:16,265 --> 01:22:21,170
{\an8}Nobody that I knew
thought of it as a great film.
1154
01:22:21,303 --> 01:22:25,207
{\an8}GIauber felt really bad.
1155
01:22:26,074 --> 01:22:32,181
{\an8}I watched it again
in a less stressful environment.
1156
01:22:32,314 --> 01:22:37,186
{\an8}GIauber himself had contributed
to that whole situation.
1157
01:22:38,220 --> 01:22:40,456
{\an8}I watched that fllm
again a few months Later,
1158
01:22:40,589 --> 01:22:43,192
{\an8}at a small festivalr quietlyr
1159
01:22:43,325 --> 01:22:47,629
{\an8}calmlyr without the normal
rush of the great festivalsr
1160
01:22:47,763 --> 01:22:51,400
{\an8}and I had a completely
different impression.
1161
01:22:51,533 --> 01:22:54,670
{\an8}I noticed it was a great film
for the future.
1162
01:22:54,837 --> 01:23:01,243
{\an8}I know that a film can't maPe the future,
but it was the manlfesto
1163
01:23:01,376 --> 01:23:06,248
{\an8}of a third-worldist cinemar
of the futurer an utopic film.
1164
01:23:06,381 --> 01:23:09,251
That's the fllm he wanted.
1165
01:23:09,384 --> 01:23:14,256
With one exception: he didn't
want the rolls numberedr
1166
01:23:14,389 --> 01:23:18,160
and Embrafilme didn't agree with that.
1167
01:23:18,293 --> 01:23:22,264
He didn't want credits like:
"Embrafilme Presents"
1168
01:23:22,397 --> 01:23:24,366
or "The End."
1169
01:23:25,334 --> 01:23:32,040
The idea was that the rolls
could be shown in any order.
1170
01:23:32,174 --> 01:23:38,247
Ne was tired of the narrative cinema,
he said that all the time.
1171
01:23:38,380 --> 01:23:40,282
He said it was how the clnema got lost.
1172
01:23:40,415 --> 01:23:42,317
"Why is the cinemar
1173
01:23:44,353 --> 01:23:49,291
something so expressive and strong,
1174
01:23:49,424 --> 01:23:51,360
IImited to telling stories?"
1175
01:23:52,361 --> 01:23:55,364
We have arrived at the Holy Landi
1176
01:23:56,365 --> 01:23:57,566
We have arrivedi
1177
01:24:08,443 --> 01:24:11,380
We will build a new nation!
1178
01:24:12,381 --> 01:24:15,717
Here, we will build a new nation!
1179
01:24:15,851 --> 01:24:20,122
The film doesn't have a plot.
It's an audlovisual trip
1180
01:24:20,255 --> 01:24:24,393
talking about the Brazil of all tlmes.
1181
01:24:24,526 --> 01:24:28,397
It's a poemr not a playr and not a novel.
1182
01:24:28,530 --> 01:24:31,400
It doesn't tell a story,
IIke people are used to.
1183
01:24:31,533 --> 01:24:35,404
Since everything is inverted,
people get lost.
1184
01:24:35,537 --> 01:24:39,408
Wellr that's the fllm.
Watch it and listen to it.
1185
01:24:39,541 --> 01:24:42,277
Films are for watching and listening.
1186
01:24:42,411 --> 01:24:44,413
I don't make conventlonal films.
1187
01:24:44,546 --> 01:24:49,418
My films come from another spacer
1188
01:24:49,551 --> 01:24:53,422
and they don't obey
the conventional rules of drama.
1189
01:24:53,555 --> 01:24:56,458
They said the film was crazyr
hard to understand,
1190
01:24:56,592 --> 01:24:59,461
that instead of being a Mamist,
I've become a Christian.
1191
01:25:00,195 --> 01:25:03,465
That I was no longer committedr
1192
01:25:03,599 --> 01:25:05,701
that I have betrayed
the revolutionary principles.
1193
01:25:05,834 --> 01:25:08,337
They tried to attack me ideologicallyr
1194
01:25:08,470 --> 01:25:11,473
imputing political obligatlons to me.
1195
01:25:11,640 --> 01:25:16,778
And they were not capable
of understandlng it as something new.
1196
01:25:16,912 --> 01:25:17,779
They are ignorant.
1197
01:25:17,913 --> 01:25:22,117
This film goes beyond politics,
into phllosophy.
1198
01:25:22,250 --> 01:25:26,588
Andr for themr a filmmaker
could never be a philosopher.
1199
01:25:26,722 --> 01:25:29,491
That's what happened.
1200
01:25:29,658 --> 01:25:33,328
It's not a commercial or political filmr
it's not a westernr or a porno movie.
1201
01:25:33,462 --> 01:25:37,532
It's a religious film, therefore it's new.
1202
01:25:37,666 --> 01:25:44,539
So I went to the cathedralr
said a barbarian massr
1203
01:25:44,673 --> 01:25:46,541
and people got scared.
1204
01:25:46,675 --> 01:25:49,544
If they got into itr
they would have to pray.
1205
01:25:49,678 --> 01:25:53,515
I told themr it's just
IIke a barbarian Christr
1206
01:25:53,649 --> 01:25:57,586
arriving at the catacombsr
and you are accusing mer
1207
01:25:57,719 --> 01:26:01,590
because your Romans and Italians,
1208
01:26:01,723 --> 01:26:04,593
have the hablt of throwing
the Christians to the Iions.
1209
01:26:04,726 --> 01:26:06,895
But I'm not afraid of them,
just like Daniel wasn'tr
1210
01:26:07,029 --> 01:26:08,363
and tamed the Iions.
1211
01:26:08,497 --> 01:26:12,601
Love is peacer
the freedom of my naked body.
1212
01:26:12,734 --> 01:26:16,538
I want your nudltyr come to me!
1213
01:26:16,705 --> 01:26:19,041
CONDEMNED BY CRITICS
AND ABANDONED BY THE PUBLICr
1214
01:26:19,174 --> 01:26:20,409
GLAUBER LEAVES FOR PORTUGAL.
1215
01:26:23,679 --> 01:26:27,582
I want love, distressed and peaceful!
1216
01:26:27,716 --> 01:26:29,618
I don't want a crazy lovei
1217
01:26:29,751 --> 01:26:33,955
I want love, Don't want freedom!
I want to scream, I want to sing!
1218
01:26:34,089 --> 01:26:36,625
Those were young people
that loved to make films.
1219
01:26:36,758 --> 01:26:41,663
This group of people has some kind of joy,
1220
01:26:41,797 --> 01:26:44,099
of doing what you love,
1221
01:26:44,232 --> 01:26:48,670
with a whole bunch of talented friends.
1222
01:26:49,705 --> 01:26:53,675
At the same time,
each had its own personal idea.
1223
01:26:53,842 --> 01:27:00,615
They thought we would change Brazilr
and also the faith they had.
1224
01:27:00,749 --> 01:27:05,353
The truth is that it's been too long
since GIauberr
1225
01:27:05,487 --> 01:27:10,726
and the worst thlng about
Brazil is not having him here.
1226
01:27:11,293 --> 01:27:12,260
That's it.
1227
01:27:15,697 --> 01:27:19,735
It wasn't just GIauber.
My generation was hit.
1228
01:27:19,868 --> 01:27:22,738
I lost Leon, GIauber, and Joaquimr
1229
01:27:22,871 --> 01:27:26,508
my closest friends in the cinema.
1230
01:27:26,641 --> 01:27:30,479
I miss him right herer right now.
1231
01:27:30,612 --> 01:27:32,948
I wish he was here now.
1232
01:27:33,081 --> 01:27:35,751
Misslng someone is terribler brother.
1233
01:27:37,819 --> 01:27:41,757
PAULO GIL SOARES DIED
FIFTEEN DAYS AFTER THIS INTERVIEW
1234
01:27:42,257 --> 01:27:45,794
How would you define GIauber?
1235
01:28:14,890 --> 01:28:18,727
I hope I have time to tell this story.
1236
01:28:18,860 --> 01:28:20,829
We went there to meet the producer.
1237
01:28:20,962 --> 01:28:23,832
He called every producer
1238
01:28:23,965 --> 01:28:27,869
at Brown Derbyr the restaurant
the IooPs IIke a derby hat,
1239
01:28:28,003 --> 01:28:31,873
in Hollywood. His name was Spalas.
1240
01:28:32,007 --> 01:28:34,876
We waited for himr drinking at the bar.
1241
01:28:35,010 --> 01:28:36,878
When he arrivedr GIauber was all excited.
1242
01:28:37,012 --> 01:28:42,083
Spalas got up, he had a hole In his pantsr
1243
01:28:42,217 --> 01:28:44,853
and GIauber did this: "Ah!
1244
01:28:44,986 --> 01:28:46,855
My producer is showing his assi
1245
01:28:46,988 --> 01:28:50,892
Damni I'm screwedi"
1246
01:28:52,594 --> 01:28:54,863
Then he did the following...
1247
01:28:54,996 --> 01:28:57,933
This is a crazy story.
1248
01:28:58,066 --> 01:29:00,936
He gave me this serious look.
1249
01:29:01,069 --> 01:29:03,939
Spalas was here...
I don't remember very well,
1250
01:29:04,072 --> 01:29:06,708
I know the three of us
were sitting there.
1251
01:29:06,842 --> 01:29:10,979
GIauber looked at me,
he was really seriousr
1252
01:29:11,112 --> 01:29:12,480
and farted.
1253
01:29:14,816 --> 01:29:17,953
It was a silent fart,
1254
01:29:18,086 --> 01:29:21,823
but it had an awful smelli
1255
01:29:21,957 --> 01:29:25,961
Spalas and GIauber looked at me
1256
01:29:26,094 --> 01:29:27,996
as if I had done it.
1257
01:29:28,997 --> 01:29:32,000
And I saldr "You bastard!
1258
01:29:32,133 --> 01:29:35,670
You fart and you say it was me!"
And he was...
1259
01:30:37,165 --> 01:30:41,102
THAT'S THE STORY
OF THE BOY WHO WAS BORN
1260
01:30:41,236 --> 01:30:44,105
IN VITSRIA DA CONQUISTA, IN BAHIAr
1261
01:30:44,239 --> 01:30:47,142
WHERE ASSASSINSr CRIMINALSr PROPHETS
1262
01:30:47,275 --> 01:30:49,277
AND POLITICIANS
ARE COMMON CHARACTERS.
1263
01:30:57,919 --> 01:31:00,121
HE TURNED DREAMS INTO HISTORYr
1264
01:31:00,255 --> 01:31:03,158
CHALLENGED AND OVERCAME OBSTACLES.
1265
01:31:11,232 --> 01:31:15,370
IT'S THE STORY OF A MASTER
OF THE POETIC CINEMA.
1266
01:31:21,276 --> 01:31:26,247
IT'S THE STORY OF
GLAUBER PEDRO DE ANDRADE ROCHA.
1267
01:31:39,260 --> 01:31:42,230
TRIBUTE TO GLAUBER
ONE WEEK AFTER THE FUNERAL.
1268
01:31:42,364 --> 01:31:47,235
Oh, sunny morning
1269
01:31:47,369 --> 01:31:52,240
Anhangá ran away
1270
01:31:52,374 --> 01:31:57,278
Anhangá hey hey
1271
01:31:57,412 --> 01:32:02,250
Ah, it was you
1272
01:32:02,384 --> 01:32:06,287
Who made me dream
1273
01:32:06,421 --> 01:32:12,293
And cry for my homeland
1274
01:32:12,427 --> 01:32:16,331
Guaraci, hey hey
1275
01:32:17,332 --> 01:32:22,337
Anhangá ran away
1276
01:32:23,338 --> 01:32:26,307
Oh, Tupá
1277
01:32:26,441 --> 01:32:30,311
God of Brazil
1278
01:32:30,445 --> 01:32:34,315
That fills up the sky with the Sun
1279
01:32:34,449 --> 01:32:39,320
With the stars with the moon
1280
01:32:39,454 --> 01:32:43,324
And with hope
1281
01:32:43,458 --> 01:32:47,362
Oh, Tupi
1282
01:32:47,495 --> 01:32:53,368
Take away from me this yearning
1283
01:32:53,501 --> 01:32:57,372
Anhangő made me
1284
01:32:57,505 --> 01:33:02,410
Dream of the land that I've lost
1285
01:33:09,317 --> 01:33:13,421
{\an8}Brazilian's Intellectual vanguard
1286
01:33:13,555 --> 01:33:16,124
is colonized by North Amerlcan ideology.
1287
01:33:16,257 --> 01:33:22,430
CInema Novo was an
internatlonally important movement
1288
01:33:22,564 --> 01:33:26,434
in the 60sr
which created a Brazilian CInema.
1289
01:33:26,568 --> 01:33:30,438
This movement has now been destroyedr
1290
01:33:30,572 --> 01:33:34,109
and I'll talk about it Iaterr
bringing Into question
1291
01:33:34,242 --> 01:33:36,511
the responsibilities
of some Important filmmakersr
1292
01:33:36,644 --> 01:33:39,414
who have given themselves
to the sort porn industry
1293
01:33:39,547 --> 01:33:41,449
or sub-commercial filmsr
1294
01:33:41,583 --> 01:33:44,452
who collaborate with multinationals
1295
01:33:44,586 --> 01:33:48,456
and now depreclate Cinema Novo!
1296
01:33:48,590 --> 01:33:53,161
They won't survive
wlthout going bacP to it.
1297
01:33:53,294 --> 01:33:59,000
As Nelson P. Santos says,
"if you didn't like this story,
1298
01:33:59,134 --> 01:34:00,502
go to hell, write another one. 'r
1299
01:34:01,603 --> 01:34:06,975
GIauber the Movier Labyrinth of BraziI
105969
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