Maybe the opposite is true, since El Topo premiere is dated 18 December 1970 and this one was released in December 1969… 
Yes you got a point there, to be honest I also checked the similar film release dates, but I still believe was more probable that Fago had already watched El Topo.
I’m not not very good with film year releases, but its a known fact that El Topo was made before 1969 and it took some time to be finished, some say it was enterely shot during 1967, its a fact that during 1969 the film was shown to potential distribuiters, and seen in some Festivals, and in private viewings (like for instance to John Lennon and Yoko Ono), on the other hand Fago’s film with a few successeful actors with lots of film credits during the period, so it must have been done during 1969, they were filming in Brazil so they had to be fast I guess.
I really don’t know if Fago watched El Topo just guessing, but even with similar release dates I find that more believeble, than the other way around.
I’m a Woody Allen fan, as some of you might know, but I don’t think he was that good in hiding his influences (they’re often quite obvious). I don’t think he tried to be good at it either. Woody was (and is) very good at assimilating influences, but that is a different thing. He learned a lot from Chaplin, Bob Hope, Fellini, Bergman, the great Russian novelists, a couple of others, and never tried to conceal their influence, but he always (or nearly always) created something remarkably original with it. It worked of course better in some movies than in others.
Yes you’re right, hiding must not be the correct word, what I tried to say was that he, and others, tried to change those influences into something new or different from the starting point, but still we know their there, and we know where they come from, something that in fago’s film doesn’t happened, we know where they come from cause their equal to the original.
IMDb reports El Topo filming dates: 4 August 1969- 17 September 1969.
hm, hm, and what about SWs - for example Anda Muchacho, Spara! is Leone rip-off like hell, and inferior to Leone, but fans, mostly, like it
many movies, not only SWs, are not even equal to the original, but i love them …
Well that’s the problem with references, when we start to talk about them, we usually forget the original film we are talking.
For the obvious reasons I know a few bits of story about El Topo, I really don’t believe it was made during 1967, but remember reading a Jodorowsky interview when he said the all film took him 9 months to be made. The man himself had influences like any creator, from Antonin Artaud to who knows Glauber Rocha films so.
But anyway this ain’t about El Topo but O Cangaçeiro
I love Anda muchacho, spara! This is a Top 20 material for me.
Well, I agree that it has too many Leone’s ingredients, but it doesn’t bother me at all. It’s well made film, which doesn’t mean it achieves the level of Leone works…
As for O’ Cangaceiro, I haven’t watched it yet, it looks quite good though.
Wasn’t this inspired by Lima Barreto’s “O Cangaceiro” which was made before the Cinema Novo movement?
Also, does anyone know why Fago’s version seems to be titled “O’ Cangaceiro” with a curious apostrophe after the “O” ?
All “O Cangaceiro” means in Portuguese is “The Cangaceiro”.
No idea, maybe a sort of microscopic “signature” to differentiate the title from the one of the 1953 film by Lima Barreto.
Good, the kind of theme I’m keen on talk about, Cinema Novo in Brazil got a lot of similarities with Portuguese Cinema Novo (it was also called that way) of the same period.
Equally Lima Barreto film O Cangaçeiro and Glauber Rocha films (Deus e o Diabo… and António das Mortes) are really in my opinion all great films, but very different in style and objectives, Rocha was a very political director and his films were a response to the political situation in Brazil. Barreto who was also a writer and only directed two full length movies, made a more classical film, in the Ford tradition, with a beautiful photography work in a fantastic B/W, the soundtrack is also amazing, to be honest I prefer Lima Barreto film to Rocha ones, but I understand why both are different.
In my opinion and taking in account the political feeling in Europe, and political inclinations of most Cinema directors at the period (even more Italian ones), Fago’s film takes more inspiration from Rocha than Lima work. Lima Cangaçeiro by the late 70’s as already a forgotten work, despite its critical success at the time it was made.
I really recommend Lima film for a watch for those who like westerns. Also advise a watch on another Brazilian film called O Pagador de Promesas from 1962, integrated in Cinema Novo, but still with a classic feeling more inspired in Italian Cinema of the period, and a great story
About the title In Portuguese its “O Cangançeiro “we rarely use apostrophes, and never after a O/The.
i thinks it’s okay movie - one thing i was especially looking forward to was mobsters, but i can say it was probably worst scene in the movie, very badly directed
well, i like this combination of strange elements (even if they are a bit illogical) in movies, but great scene with tommyguns just didn’t happen - it was more like worst scene with tommyguns, quite embarassing
This 97 minutes version is not too bad, it would be interesting to recover the fully uncut version.
O’Cangaceiro is correctly in the Database as vaguely related to the genre but in consideration of South American setting, historical period, cultural references, music and costumes to my way of thinking this one can not be classified as SW, contrary to L’uomo l’orgoglio la vendetta/Man, Pride and Vengeance in which we find the correct historical period, explicit references to the American frontier in the dialogues, excellently exploited Almerian landscapes and some sequences almost indistinguishable from those that characterize the WAI, so that as everybody knows in Germany - and here there’s a minority German co-production - the film was presented/retitled as a Django, while of course presenting Fago’s movie as a Zapata would not have been possible for the reasons described above.
You are right Jonathan, still O’Cangaceiro seems to be closer in style to the SW than the lame Carmen blend. Which is apart from the middle section more a melodrama than a western.
Actually both are not really westerns, but both have enough western connections to keep them in the data base. And maybe only a SW audience cares for both films.
Me too. I would much rather take either Barreto’s or Fago’s “O Cangaceiro” over the two Rocha ones, but I know there are many people who would disagree.
Shouldn’t it be “O Cangaceiro” with no cedilla under the “c” (as opposed to “O Cangaço” with cedilla in reference to the phenomenon rather than the people)? I remember this was discussed earlier, but doesn’t seem to have been changed in the database of forum topic.
No Novecento its also written with the cedilla in the “c” with the cedilla it’s spell like canga…seiro, without it you will spell it like canga…queiro, well Portuguese not easy
Both Rocha films are not even his best ones, even though the first one is a terrific movie for 1964, and an influent one.
It’s without. The cedilla is only needed before “o” or “a” to stop it being pronounced like ‘k’ - hence cangaço but cangaceiro:
Not?