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Quilombo (1984)
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Overview
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Director:
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Release Date:
28 March 1986 (USA)
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Plot:
Palmares is a 17th-century quilombo, a settlement of escaped slaves in northeast Brazil. In 1650, plantation...
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| Full synopsis »
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Awards:
1 nomination
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NewsDesk:
(5 articles)
Before 'Quilombo' There Was 'Ganga Zumba'...
(From ShadowAndAct. 15 April 2013, 11:05 AM, PDT)
Brazilian filmmaker Carlos Diegues to chair Caméra d’or Jury at Cannes
(From DearCinema.com. 27 April 2012, 11:12 PM, PDT)
Carlos Diegues Caméra dOr Jury President: Cannes 2012
(From Alt Film Guide. 27 April 2012, 1:34 PM, PDT)
(From ShadowAndAct. 15 April 2013, 11:05 AM, PDT)
Brazilian filmmaker Carlos Diegues to chair Caméra d’or Jury at Cannes
(From DearCinema.com. 27 April 2012, 11:12 PM, PDT)
Carlos Diegues Caméra dOr Jury President: Cannes 2012
(From Alt Film Guide. 27 April 2012, 1:34 PM, PDT)
User Reviews:
historically interesting, but a horrible production
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Cast
 | Jonas Bloch | ... | Samuel |
| Zózimo Bulbul | ||
| Emmanuel Cavalcanti | ||
| Arduíno Colassanti | ||
| Jorge Coutinho | ... | Sale |
| Babaú da Mangueira | ||
| Roberto de Cleto | ||
| Aniceto do Império | ||
| Maurício do Valle | ... | Dominingos Jorge Velho |
| Chico Díaz | ||
| Sabrina Fidalgo | ||
 | Daniel Filho | ... | Carrilho |
| Vera Fischer | ... | Ana de Ferro |
| Léa Garcia | ||
 | Milton Gonçalves | ||
| Thiago Justino | ||
| Marcos Konica | ||
| Carlos Kroeber | ||
| Swami Leeladahar | ||
| Eduardo Machado | ||
| Sérgio Maia | ||
| Scarlet Moon | ||
| Luis Motta | ||
| Zezé Motta | ... | Dandara |
| Kim Negro | ||
| João Nogueira | ... | Rufino |
| Waldir Onofre | ||
| Grande Otelo | ... | Baba |
| José Márcio Passos | ||
| Paulão | ||
| Antonio Pitanga | ... | Acaiuba |
| Camila Pitanga | ||
| Ruy Polanah | ||
| Antônio Pompêo | ... | Zumbi (as Antonio Pompeu) |
| Telma Reston | ||
| Adalberto Silva | ||
| Eduardo Silva | ||
| Joel Silva | ||
| Joffre Soares | ... | Caninde |
| Sandro Solviatti | ||
| Paulo Henrique Souto | ||
| Tony Tornado | ... | Ganga Zumba |
| Dona Zica |
Directed by | |||
| Carlos Diegues | |||
Writing credits(in alphabetical order) | ||
| Carlos Diegues | ||
| João Felicio dos Santos | novel "Ganga Zumba" | |
| Décio Freitas | book "Palmares, a Guerra dos Escravos" | |
Produced by | |||
| Marco Altberg | .... | executive producer | |
| Augusto Arraes | .... | producer | |
| Carlos Diegues | .... | producer | |
Original Music by | |||
| Gilberto Gil | |||
| Waly Salomão | |||
Cinematography by | |||
| Lauro Escorel | (as Lauro Escorel filho) | ||
Film Editing by | |||
| Mair Tavares | |||
Casting by | |||
| Bruno Wainer | |||
Art Direction by | |||
| Luiz Carlos Ripper | |||
Costume Design by | |||
| Luiz Carlos Ripper | |||
Makeup Department | |||
| Carlos Prieto | .... | makeup artist | |
Production Management | |||
| René Bittencourt | .... | production manager | |
| Rodolfo Brandão | .... | production manager | |
| César Cavalcanti | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Jorge Durán | .... | assistant director | |
| Nelson Nadotti | .... | assistant director | |
| Antonio Pitanga | .... | assistant director | |
Art Department | |||
| Tetê Amarante | .... | assistant art director (as Maria Tereza Amarante) | |
| Ronaldo Bastos Cruz | .... | construction coordinator | |
| Paulo Flaksman | .... | assistant art director | |
| Silas Sidnei Silva | .... | construction coordinator | |
| Sergio Silveira | .... | assistant art director | |
Sound Department | |||
| William Flageollet | .... | sound | |
| Hélio Lemos | .... | sound editor | |
| Victor Raposeiro | .... | sound | |
| José Luiz Sasso | .... | sound re-recording mixer | |
Special Effects by | |||
| André Trielli | .... | special effects | |
Costume and Wardrobe Department | |||
| Paula Franccini Cruz | .... | assistant costume designer | |
Other crew | |||
| Roberto da Matta | .... | continuity | |
| Beatriz do Nascimento | .... | continuity | |
| Joel Rufino dos Santos | .... | continuity | |
| Angelo Gastal | .... | production assistant | |
| Lelia Gonzalez | .... | continuity | |
| Luis Motta | .... | continuity | |
| Everardo Rocha | .... | researcher | |
| Maria Inês Villares | .... | continuity | |
Production Companies
- CDK
- Embrafilme (co-production)
- Gaumont (co-production)
- Embrafilme (1984) (Brazil) (theatrical)
- New Yorker Films (1986) (USA) (theatrical) (subtitled)
- Globo Vídeo
- New Yorker Films (2005) (USA) (DVD)
Additional Details
Parents Guide:
Runtime:
119 min | USA:114 min
Language:
Color:
Sound Mix:
FAQ
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This film tells the true story of escaped black slaves who found their own mountain-top commune as free men in 17th-century Brazil. The story is interesting and edifying. However, this film -- as a film -- is terrible.
The soundtrack is not period music or tribal music. It is Afro-Brazilian pop music from the early 1980s. Battle scenes are fought to the sounds of cheesy pop rhythms best left to the disco or bad cops dramas. Admittedly, the lyrics are folk-ish tales of the slaves' heroism. The special effects are absurd. Rather than invoke the mysticism of African religion and atavistic beliefs, they merely make the film look cheap. They are completely unbelievable, and I don't mean merely in a sense of verisimilitude.
Life within the commune of Palmares could not have been the way it is portrayed in the film. For this society, as shown in the film, is one-part kibbutz, one-part Afro-pop festival. Moreover, it is almost embarrassing to watch the director play upon the clichés of blacks as talented singers and dancers who simply want to be happy. He portrays daily life as a series of dance parties in which the freed slaves paint themselves bright colors and whirl around to the strains of '80s pop music. On the other hand, they have an abundance of beautiful food, but the viewer hardly sees any work being done. The king inveighs against private property in a hackneyed and clichéd way. When a man complains that people are taking the vegetables that he has grown over many months, the king says, "What comes from the earth belongs to everyone, as the earth belongs to no one. If they need food, they have a right to take yours."
I am glad that I learned about this episode in history, but I am relieved that a film with such low production values and that trades upon such worn stereotypes would likely not be made today.