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O Amuleto de Ogum (1974)

To entertain some thieves, a blind guitar player tells them the story of a man from the Northeast of Brazil, involved with criminals living in the suburbs of Rio de Janeiro, who allegedly ... See full summary »
3 wins & 1 nomination. See more awards »


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Credited cast:
Ney Santanna Ney Santanna ... Gabriel
Anecy Rocha Anecy Rocha ... Eneida, Gabriel's Fiancée
Joffre Soares Joffre Soares ... Severiano
Maria Ribeiro Maria Ribeiro ... Maria
Emmanuel Cavalcanti Emmanuel Cavalcanti
Jards Macalé Jards Macalé ... Firmino
Erley José Erley José
Francisco Santos Francisco Santos
José Marinho José Marinho
Antonio Carlos de Souza Pereira Antonio Carlos de Souza Pereira ... (as Antônio Carlos de Souza Pereira)
Waldir Onofre Waldir Onofre ... Thief
Ilya São Paulo Ilya São Paulo ... Thief
Tonico Pereira Tonico Pereira ... Thief
Rest of cast listed alphabetically:
Luiz Carlos Braga
Antonio Carnera Antonio Carnera


To entertain some thieves, a blind guitar player tells them the story of a man from the Northeast of Brazil, involved with criminals living in the suburbs of Rio de Janeiro, who allegedly had a "closed body", meaning that his body couldn't be hit by bullets or other weapons, by the wish of Ogum, one of the gods of Candomblé, a religion common in Brazil and Africa. Written by Anonymous

Plot Summary | Add Synopsis









Release Date:

21 May 1974 (Brazil) See more »

Also Known As:

The Amulet of Ogum See more »

Company Credits

Production Co:

Embrafilme, Regina Filmes See more »
Show more on IMDbPro »

Technical Specs


Sound Mix:



Color (Eastmancolor)
See full technical specs »

Did You Know?


The word 'rodizio' is misspelled as 'rodisio' in one restaurant next to the shootout sequence. See more »


Dead Flowers
Written by Mick Jagger (uncredited) and Keith Richards (uncredited)
Performed by The Rolling Stones.
See more »

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User Reviews

What a waste...of time, money, celluloid, talent, everything.
22 May 2016 | by Rodrigo_AmaroSee all my reviews

We sent this to Cannes? Wish I could be there with that audience to see the reaction from all the foreign viewers. I'm somewhat ashamed to know about such fact because it's an embarrassing film to show to an intellectual with high expectations audience who at the same festival had the pleasure to see "Alice Doesn't Live Here Anymore", "The Enigma of Kaspar Hauser" and "The Passenger". Sorry, but Nelson Pereira dos Santos' experiment doesn't get near the likes of Scorsese, Herzog or Antonioni. "Memórias do Cárcere" was a huge triumph of his but Cannes didn't include it in the line-up for the Palme D'or. I can't have the facts of that time, that's fine but where's the contemporary voices who watch this film today and say this is a good movie? Right, Youtube comments that doesn't qualify the film in any valuable way. Goes from good to great, to nice and cool, they say. But they're not here so you get the real deal according to what I saw.

It's cheaper than cheap filmmaking at its lowest from the very beginning, a lousy opening scene with three thugs trying to rob a blind man, who somehow overpowers them by telling a story about a simple man with a unique power: he has a closed body and nothing can't hit or hurt him. That's what we follow from then on, the story of Gabriel (Ney Santanna) who gets used by a crime lord (Joffre Soares) to commit several crimes, at my view quite idiotic because he goes to kill folks who don't show any resistance, they're always taken by surprise and at no point they shoot the "power" guy. How do we know he's really unbreakable? We're told that Gabriel was protected by orixás, when his mother asked them for protection after the killing of his father, and that protection comes from an amulet he constantly wears, hence "O Amuleto de Ogum" ("Ogum's Amulet").

The previous mentioned moments are actually quite engaging, easy to follow but strange to accept and digest. What turns the movie around is when Gabriel is targeted by his boss and crime colleagues because he's getting too visible during the crimes, making mistakes and attracting attention to the group. He's very young, awfully impressionable and doesn't know exactly how to react to the luxury, the cars and the women in his life (he's far from smart but knows how to shoot and kill and not feel a thing about it). So, how can you terminate someone who can't be terminated? It's plans after plans from the mobster to execute Gabriel, a disastrous mess after another and too bad the movie goes the same way as well, not knowing how to properly make us connect to such a story. Pereira dos Santos doesn't have any worthy message to bring with this junk. It's just an entertaining story? It's about the power true believers in religion have over fake religious people, who tend to use it to obtain power? Or a statement that power can be trusted to people who don't have the responsibility to use them? Whatever that message was, it was certainly lost on me.

And the vessels that were supposed to carry the movie haven't even got the chance to set sail, sunk from scene one, and those are the actors. Santanna is the director's son and what uncharismatic, wooden and strange performer he is. Not entirely his fault, the character he plays is poorly developed all around: hero, anti-hero, villain or the least menacing guy from that group? Hard to know and I didn't care. The rest of the cast goes the same way, all reading cue cards or trying to look important in front of camera. The great Joffre Soares is an exception with his powerful and believable presence as the main villain. He's slightly over-the-top but in a movie like this, it's not a bad thing to do.

Though flawed as a drama, ridiculous a comedy and amateurish in almost all accounts, "O Amuleto de Ogum" reserved some good moments, such as the sequence where Gabriel is confronted by a colleague during a lame fight where he accidentally dropped some food on the guy's shirt. The guy shoots Gabriel several times and nothing happens, and the crowd goes to their knees, claiming a miracle. Great sequence. Also worthy of mention, a few torture scenes involving police brutality against criminal teens, which took me by surprise not much for the shock value but one must consider the film's release back in the heated years of the military regime, which always denied torture ever happened in their prisons yet those scenes escaped without censorship, so that's something to be amazed from a film of that era.

Final and simple verdict: a waste and a mess. 3/10

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