Antonio Das Mortes

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Antonio Das Mortes O Dragão da Maldade contra o Santo Guerreiro Antonio das Mortes Glauber Rocha Noch einmal kehrt Glauber Rocha zum Schauplatz seines berühmtesten Glauber Rocha returns once more to the scene of his most fa- Films Deus e o Diabo na Terra do Sol (Gott und Teufel im Land der Sonne, mous film Deus e o Diabo na Terra do Sol (Black God, White Devil, 1964) zurück: in die Steppenlandschaft des Sertão und zu Antonio das 1964), revisiting the steppe landscape of the sertão and Anto- Mortes, dem Killer der Cangaceiros. Wieder hat ihn ein Großgrundbesitzer nio das Mortes, killer of the cangaceiros. A large landowner has engagiert, um mit den lästigen Banditen und den religiösen Fanatikern once again employed him to do away with the troublesome ban- aufzuräumen. Doch Antonio wechselt die Seite und wird vom Handlanger dits and religious fanatics. Antonio changes sides however, go- des Unterdrückers zum Helfer der Unterdrückten. ing from the oppressorʼs henchman to a helper of the oppressed. Für Glauber Rocha ist die auf der Legende von St. Georg, dem Drachentöter, Glauber Rocha sees this story, which is based on the legend basierende Geschichte ein Sinnbild für die brasilianische Militärdiktatur, of St. George, the dragon killer, as an allegory for the Brazil- die 1968/69 ihre repressivste Form annahm. Unscheinbare Szenen verwei- ian military dictatorship, which took on its most repressive form sen darauf, aber auch Ausbrüche der Gewalt. Der „Drache des Bösen“ steht in 1968/9. The film refers to this both in seemingly inconspicu- hier für den Großgrundbesitzer wie für die regierenden Generäle. Formal ous scenes as well as in various outbursts of violence. The “evil geht Glauber Rocha dabei neue Wege. Statt der Dynamik des rasch wech- dragon” represents both the large landowner and the ruling gen- selnden Bildschnitts verwendet er hier die Technik langer Plansequenzen: erals. In terms of form, Glauber Rocha also explores new avenues Er will die Reflexion des Zuschauers auf die Aktionen innerhalb eines Bil- here. Instead of making use of the dynamism of rapid cuts, he des lenken. Brasiliens selbst zur Legende gewordener Regisseur erreicht employs long plan sequences as a technique intended to direct damit einen neuen Höhepunkt seiner Kunst. Peter B. Schumann the viewerʼs attention on to what is occurring within the image. Having already become a legend himself, Brazilʼs great director reaches new artistic heights with this film. Peter B. Schumann 34 berlinale forum 2010 Beautiful, exact, indigestible images of violence Schöne, genaue, unverdauliche Bilder der Gewalt (...) In the first Rocha film that came to usGod ( and the Devil in (...) Antonio das Mortes war im ersten Rocha-Film, der zu uns kam (Gott the Land of the Sun), Antonio das Mortes played the sinister kill- und Teufel im Lande der Sonne) der düstere, von den Machthabern bestellte er hired by the rulers. A lone wolf, he killed cangaceiros, sectar- Mörder, ein Einzelgänger; er tötete Cangaceiros, Sektierer, Rebellen. Nun ians, and rebels. Here he plays the leading role, burdened with ist er Hauptfigur, selbst mit Geschichte beladen, er ist ein Mensch gewor- history himself. He is now a person one can empathize with, for den, mit dem man empfinden kann, denn er breitet seine Seele aus. Anto- he opens up his soul. Antonio says: “Lampião [a historical leader nio erzählt: Lampião (ein historischer Führer der Cangaceiros) war mein of the cangaceiros] was my mirror image. Then I killed him and Spiegelbild. Dann habe ich ihn getötet und für mich war alles aus. it was all over for me.” Antonio, wiederum bestellt, neue Cangaceiros umzubringen zum Wohl ei- Antonio, hired once more to kill new cangaceiros for a large nes Großgrundbesitzers, läuft über; er will selbst Bandit werden, der für landowner, defects to become a bandit fighting for the poor. He die Armen kämpft. Er will das Morden einstellen. Aber die Gewalt der Un- wants to cease murdering. But the violence of oppression de- terdrückung fordert von ihm das größte Massaker: zusammen mit einem mands from him the biggest massacre: he and a drunken village versoffenen Dorflehrer schießt er gedungene Banditen zusammen. (Revo- schoolteacher shoot down hired bandits. (Neither is a revolu- lutionäre sind beide nicht. So können sie sich auch nur vage erklären.) tionary, so they can explain themselves only vaguely.) Im Grunde bleibt Antonio, der Todbringer, eine dunkle, mythische Figur, Antonio, the bringer of death, remains a dark, mythical figure, zwar lebendig, aber so unberührbar wie alle, die von nirgends her kommen alive but as untouchable as all who come from nowhere and go und nirgends hingehen. Er ist einsamer als jene seltsame Heilige – unver- nowhere. He is more solitary than the strange saint – the invul- letzliche Führerin der Armen –, die ihn verflucht, ohne ihn zu treffen, un- nerable leader of the poor – who curses him without meeting erklärbarer auch als ein Schwarzer, der in der Gruppe der Armen ist, von him, more inexplicable than the black man in the group of the Afrika träumt und am Ende zur hellen Legendenfigur wird: er tötet den poor who dreams of Africa and in the end becomes a radiant leg- Großgrundbesitzer mit einer Lanze, vom Pferd aus – Sankt Georg und der endary figure; mounted, he kills the landowner with a lance, St. Drache; wie ein „unverständlich-deutliches“ Motto durchzieht das Heili- George and the dragon. An “incomprehensible/clear” motto, the genbild den Film, der zuweilen wie ein brüchiges Mysterienspiel sich an- image of the saint runs through the film, which sometimes looks sieht, episch, poetisch, ungeheuer künstlich, zuweilen wie ein machtvolles like a broken mystery play – epic, poetic, ultra-artificial, some- Aufbegehren in heidnischen Ritualen. times like a powerful revolt in pagan rituals. Ein Gespenst, das sich zwischen modernen Lastzügen ausnimmt wie eine A ghost that, between modern semi trucks, seems like a surre- surreale Vision. Aber man vergisst nicht: hundert Meter neben der Straße al vision. But one never forgets: 100 meters from the road he wird er wieder die aktuelle Symbolfigur der Gewalt, deren persönliche Ent- will become the current symbol of violence whose personal de- scheidungen zum Bösen oder auch zum Guten nichts an den Verhältnissen cisions for evil or good cannot change the situation, but serve at ändern, allenfalls für Demonstrationen taugen – wie Rochas Filme ja auch. most as demonstrations – like Rocha’s film, too. (...) (...) Alf Brustellin, in: Süddeutsche Zeitung, München, 8. Juni 1970 Alf Brustellin, in: Süddeutsche Zeitung, Munich, June 8, 1970 Die Ästhetik des Hungers The aesthetic of hunger Seine Filme wirkten damals, in den sechziger Jahren, wie gewaltige Schlä- Back in the sixties, his films were a powerful blow below the belt: ge unter die Gürtellinie: Nie gesehene Bilder von ungeheuerlicher, direkter unprecedented images with incredible, direct impact that left Wucht nahmen den betulichen Europäern buchstäblich den Atem. Aus den the fussily staid Europeans literally breathless. Viewers leav- frühen Filmen von Glauber Rocha kam man erschöpft, verwirrt und betört ing Glauber Rocha’s early films came out exhausted, confused, wieder heraus – ganz so, wie sie selber gemacht waren: in Trance. Da war and bewitched – just the way the movies were made, in a trance. eine Kraft, die die eines Einzelnen bei weitem überstieg; da war etwas fast There was a power that exceeded any one of them; something explosionsartig hervorgebrochen, was sich in langer Ohnmacht aufgestaut broke forth like an explosion, something bottled up in long im- hatte und nun nach Ausdruck schrie. Glauber Rochas Filme schrien am lau- potence that now cried for expression. Glauber Rocha’s films testen, doch das war sicher nicht der einzige Grund, daß er bereits als Mitt- screamed the loudest, but that was surely not the only reason zwanziger der wichtigste Filmemacher Lateinamerikas war. he was Latin America’s most important filmmaker while still in Er, der wie so viele Regisseure der Neuen Wellen in aller Welt als Filmkri- his mid-20s. tiker begann, hat die Themen und Strukturen des brasilianischen Cine- He, who began as a film critic, like so many directors of the New ma Nôvo beeinflußt und geprägt wie kein anderer seiner Kollegen. Er war Waves all over the world, influenced and shaped the themes and es auch, der 1965 den programmatischen Aufsatz über dieses Neue Ki- structures of the Brazilian Cinema Nôvo more than any other col- no schrieb, das eine Bresche schlug für so viele filmischen Bewegungen league. And it was he who in 1965 wrote the programmatic essay der Dritten Welt. Rochas „Ästhetik des Hungers“ brachte die Nöte die- about this New Cinema that opened a breach for so many Third ses Kinos auf den Begriff wie kaum ein künstlerisches Manifest; und es World cinematic movements. Rocha’s “Aesthetic of Hunger” sum- enthielt bereits all die ungelösten Widerspräche, an denen das Cinema marized this cinema’s dire straits as hardly any artistic manifest Nôvo schließlich zugrunde ging: has ever done; and it already contained all the unresolved con- „Der lateinamerikanische Hunger ist nicht nur ein alarmierendes Symptom tradictions that would ultimately lead to Cinema Nôvo’s demise: der sozialen Armut, er ist das Wesen der Gesellschaft selbst. Darin liegt berlinale forum 2010 35 die tragische Originalität des Cinema Nôvo im Unterschied zum Kino der “The Latin American hunger is not only an alarming symptom of restlichen Welt: Unsere Originalität ist unser Hunger, und unsere größ- social poverty, it is the essence of the society itself. This is the te Not ist es, daß dieser Hunger, obwohl man ihn spürt, nicht verstanden tragic originality of Cinema Nôvo in distinction to the cinema wird. Wir jedoch verstehen diesen Hunger, den der Europäer nicht begreift of the rest of the world: our originality is our hunger, and our und den nicht einmal die Mehrheit der Brasilianer versteht.
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