Following his fascinating portrayal of outlaw Antonio das Mortes and the dying days of banditry, Black God, White Devil (1964), Brazilian director Glauber Rocha - only 28 at the time - made the dazzling, deliberately contradictory and admittedly plodding Entranced Earth, a kaleidoscopic satire of politics in Latin America and the mad dictators who seemed to delight their people only to oppress them once elected. Filmed with the free-styling vigour of the French New Wave, Entranced Earth is often exhausting but consistently breathtaking.
Told through the eyes of poet and journalist Paulo Martins (Jardel Filho), we first encounter him pleading angrily with governor Felipe Vieira (Jose Lewgoy) to fight back in the midst of a social uprising against his administration. We flash back to learn that they were once friends, with Paulo offering his support during the election process, only to see the the promises Vieira campaigned on go out the window as the people go hungry. Vieira's political opponent, conservative Porfirio Diaz (Paulo Autran), was also once Paulo's friend, and has spent his life in luxury away from public view until a chance to rule turns him into a raving, yet highly charismatic, lunatic.
Entranced Earth is quite a confusing film. It strides along shifting back-and-forth in time and between various characters, and the kinetic, in-your-face camera-work makes it difficult at times to decipher just what the hell is going on. As a time capsule and a piece of experimental film-making, it is fascinating and deserves to have each of its frames pulled apart and analysed. It's a leftist view that is without any overt political statements, and instead seems to set out to capture the political counter-culture of the 1960's (or the demise of it). By setting it in the fictional country of Eldorado, Glauber avoids commenting on any country in particular, but is clearly making a statement about Latin America. It may leave you confused and worn- out by the end, but it's political cinema with both an edge and a sense of humour, and takes its technical influences from the greats of world cinema.
