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The Guns (film)

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a hotheaded soldier named Pedro shoots and kills a local peasant while he was out walking with his goat, after which he and his fellow soldiers cover up the incident to avoid persecution. Tensions come to a head when the charismatic truck driver and former soldier named Gaucho becomes frustrated by the peasants' inability to change their situation. After he sees a father reacted apathetically to death of his child from hunger, Gaucho takes up arms and engages in a firefight with the occupying soldiers who eventually kill him. In the end, the peasants assuage their hunger by defying the holy man and slaughtering and eating the sacred ox.
305:. In Guerra's original story, tensions between the villagers and the visiting soldiers escalate into conflict, and a soldier kills one of the locals. In the end, the villagers drive the soldiers out, leaving themselves vulnerable to attack from the wolves in the surrounding forest. This version of "The Guns" was never made because Greek officials denied Guerra permits to shoot it. Guerra enlisted the help of his friend Miguel Torres to reconfigure the story, and in 1964 Guerra produced 280:
treatment. By contrast, the soldiers are more individuated, with long swaths of time devoted to showing their boredom in their task at hand. One soldier, Mario, becomes smitten with a young woman named Luisa who is reluctant to return his affection because she does not trust the soldiers. Meanwhile,
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and adapting its screenplay to incorporate elements of Brazilian culture. Both story lines were generated out of an incident that occurred in 1924 when a group of soldiers shot and killed a sacred ox. Though Guerra had a firmly defined structure for the film's plot, he used a good deal of
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in hopes that their devotion to it will bring an end to the drought. The other storyline follows a group of soldiers who are sent to the region to thwart the attempts of impoverished civilians to plunder a storehouse for food owned by the wealthy mayor of the small town of
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in a triptych of styles. The pilgrims appear as an anonymous mass in their devotion to their project, while the hungry peasants are given a more
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Gackstetter Nichols Ph.D., Elizabeth; Robbins Ph.D., Timothy R. (2015). "Brazilian Cinema Novo".
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with a plot revolving around a band of soldiers trying to defend a village from a pack of hungry
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and regarded as one of the key films that brought worldwide attention to Brazilian cinema.
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Director Ruy Guerra originally conceived on the story in 1958 and planned to film it in
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in 1963. In one storyline a holy man urges a group of peasant pilgrims to follow an
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Latino American Cinema: An Encyclopedia of Movies, Stars, Concepts, and Trends
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Os Fuzis, de Ruy Guerra A Hora e a Vez de Augusto Matraga, de Roberto Santos
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because a government ordinance prohibits the villagers from carrying
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The film's plot alternates between two stories, both set in the
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improvisation on set depending on what and who was on hand.
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Elsaesser, Thomas (2005). "Third Cinema/World Cinema".
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Latin American Films, 1932-1994: A Critical Filmography
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The New Latin American Cinema: A Continental Project
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Dialogue from the film is sampled on the 2002 album
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Belo Horizonte: Coletivo Cisma. 700:, acesso em 30 de julho de 2016. 688:, acesso em 31 de julho de 2016. 339:called it "exceptionally good". 16:1964 film directed by Ruy Guerra 800:1960s Portuguese-language films 770:Brazilian black-and-white films 765:Argentine black-and-white films 620:"Berlinale 1964: Prize Winners" 367:Deus e o Diabo na Terra do Sol 1: 453:(credited as Antonio Sampaio) 780:Films directed by Ruy Guerra 181:103 minutes (Director's cut) 183:80 minutes (Theatrical cut) 821: 424:Leonides Bayer as sergeant 551:Valente, Eduardo (2000). 525:University of Texas Press 349:Nélson Pereira dos Santos 33:Theatrical release poster 26: 671:Baugh, Scott L. (2012). 578:Schwarz, Ronald (2005). 517:Pick, Suzana M. (2010). 421:Ivan Cândido as soldier 372:Black God, White Devil 369:(known in English as " 217: 805:1960s Brazilian films 775:Brazilian drama films 760:Argentine drama films 494:Cinemateca Brasileira 325:was entered into the 652:. September 30, 1974 795:Films shot in Bahia 790:Films set in Brazil 262:ox deemed as sacred 258:Northeastern Brazil 649:The New York Times 434:Paulo César Pereio 336:The New York Times 785:Films set in 1963 710:Retórica (2002). 492:(in Portuguese). 329:where it won the 205: 204: 135:Copacabana Filmes 103:Ricardo Aronovich 812: 755:1964 drama films 716: 715: 707: 701: 695: 689: 683: 677: 676: 668: 662: 661: 659: 657: 640: 634: 633: 631: 630: 616: 610: 609: 603: 593: 584: 583: 575: 569: 568: 566: 564: 548: 539: 538: 514: 505: 504: 502: 500: 486: 477: 476: 468: 168: 166: 75:Gilberto Perrone 31: 19: 820: 819: 815: 814: 813: 811: 810: 809: 740: 739: 725: 720: 719: 709: 708: 704: 696: 692: 684: 680: 670: 669: 665: 655: 653: 642: 641: 637: 628: 626: 618: 617: 613: 595: 594: 587: 577: 576: 572: 562: 560: 550: 549: 542: 535: 516: 515: 508: 498: 496: 488: 487: 480: 470: 469: 465: 460: 451:Antonio Pitanga 439:Mauricio Loyola 400: 394:band Retórica. 345: 320: 287: 267:Milagres, Bahia 246: 192: 182: 178: 171: 164: 162: 155: 145: 144:Herbert Richers 136: 131: 129: 112:Raimundo Higino 91: 87: 73: 59: 55: 34: 17: 12: 11: 5: 818: 816: 808: 807: 802: 797: 792: 787: 782: 777: 772: 767: 762: 757: 752: 742: 741: 738: 737: 724: 723:External links 721: 718: 717: 702: 690: 678: 663: 635: 611: 585: 570: 540: 533: 506: 478: 462: 461: 459: 456: 455: 454: 448: 445: 443:Joel Barcellos 440: 437: 431: 425: 422: 419: 413: 407: 399: 396: 351:' 1963 drama, 344: 341: 319: 316: 303:popular revolt 286: 283: 272:Guerra filmed 245: 242: 203: 202: 199: 195: 194: 189: 185: 184: 179: 176: 173: 172: 170: 169: 158: 156: 153: 150: 149: 142: 141:Distributed by 138: 137: 134: 132: 127: 124: 123: 118: 114: 113: 110: 106: 105: 100: 99:Cinematography 96: 95: 82: 78: 77: 71:Jarbas Barbosa 68: 64: 63: 57:Pierre Pelegri 50: 46: 45: 40: 36: 35: 32: 24: 23: 15: 13: 10: 9: 6: 4: 3: 2: 817: 806: 803: 801: 798: 796: 793: 791: 788: 786: 783: 781: 778: 776: 773: 771: 768: 766: 763: 761: 758: 756: 753: 751: 748: 747: 745: 736: 732: 731: 727: 726: 722: 713: 706: 703: 699: 694: 691: 687: 682: 679: 674: 667: 664: 651: 650: 645: 639: 636: 625: 621: 615: 612: 607: 602: 601: 592: 590: 586: 581: 574: 571: 558: 554: 547: 545: 541: 536: 534:9780292773240 530: 526: 522: 521: 513: 511: 507: 495: 491: 485: 483: 479: 474: 467: 464: 457: 452: 449: 446: 444: 441: 438: 435: 432: 429: 426: 423: 420: 417: 414: 411: 410:Nelson Xavier 408: 405: 402: 401: 397: 395: 393: 390:by Brazilian 389: 384: 382: 378: 374: 373: 368: 365:'s 1964 film 364: 363:Glauber Rocha 360: 356: 355: 350: 342: 340: 338: 337: 332: 328: 324: 317: 315: 312: 308: 304: 300: 296: 292: 284: 282: 279: 278:documentarian 275: 270: 268: 263: 259: 255: 251: 243: 241: 239: 235: 232: 228: 225: 221: 220: 215: 211: 210: 200: 196: 190: 186: 180: 174: 160: 159: 157: 151: 148: 143: 139: 133: 125: 122: 121:Moacir Santos 119: 115: 111: 107: 104: 101: 97: 94: 90: 89:Nelson Xavier 86: 83: 79: 76: 72: 69: 65: 62: 61:Miguel Torres 58: 54: 51: 47: 44: 41: 37: 30: 25: 20: 729: 712:1º Comunique 711: 705: 693: 681: 672: 666: 654:. Retrieved 647: 638: 627:. Retrieved 624:berlinale.de 623: 614: 599: 579: 573: 561:. Retrieved 556: 519: 497:. 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Index


Ruy Guerra
Ruy Guerra
Pierre Pelegri
Miguel Torres
Jarbas Barbosa
Gilberto Perrone
Átila Iório
Nelson Xavier
Maria Gladys
Ricardo Aronovich
Moacir Santos
Embrafilme
Portuguese
1964
Brazilian
Argentine
drama film
Ruy Guerra
drought
Northeastern Brazil
ox deemed as sacred
Milagres, Bahia
documentarian
Greece
wolves
firearms
popular revolt
Bahia
14th Berlin International Film Festival

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