User reviews

Marlon Brando's involvement in the making of "Burn" came about directly as the result of his politician idealism and his desire to make films with a comment on the human situation… In 1968 he was deeply concerned in supporting civil rights causes, particularly those to have reference to black and Indian conditions, and, according to his friends, he was greatly disturbed and depressed by the assassination of Robert Kennedy and Martin Luther King…

"Burn" begins in 1845 as Sir William Walker (Brando) arrives on the island of Queimada, truly as far as can be judged as a harmless traveler but actually an agent of the British government ordered to incite a revolution that will shatter the Portuguese control on the island and permit the British to put their hand on the valuable sugar-cane total product… Queimada has a population of two hundred thousand, of whom only five thousand are Europeans…The main town is a well-protected port with a fort and a garrison, a governor's palace, a cathedral, a bank, a hotel and a brothel…

The English gentleman recognizes he must play the part of a political Pygmalion… He looks around for a suitable subject to train as a revolutionary and he selects José Dolores (Evaristo Marquez), a large, handsome black dock-worker with an air of confidence… Walker also recruits Teddy Sanchez (Renato Salvatori), an almost-white clerk with political ambitions… Walker persuades José Dolores to steal the bank of the island, and once he does, Walker reveals his name to the government, thereby turning Dolores into a hunted bandit… The ingenious Walker then teaches Dolores and his followers in the use of firearms and gradually absorbs in them ideas and feelings to overthrow the Portuguese government…

The film is quite obviously political in tone, and is a passionate piece of propaganda in the anti-colonial struggle… Brando's interpretation of Sir William Walker is apt to call up memories of his Fletcher Christian… This is another Englishman, whose gentle speech and soft manners disguise with courage and determination…Walker is not a villain but a cold, inflexible pragmatist with a hard work to accomplish

In the Nineteenth Century, the cynical and pragmatic British agent William Walker (Marlon Brando) arrives in Queimada, a Portuguese colony in the Antilles, to promote a revolution and benefits the sugar trade with England. He finds in the water and luggage carrier José Dolores (Evaristo Marquez) the necessary potential to be the leader of the slave revolt, and the Portuguese troops are expelled from the island; then the provisional government of President Teddy Sanchez (Renato Salvatore) assumes the power with the support of the British government. Ten years later, William is hired by the Royal Company that is exploring the sugar cane plantations and the Queimada government to chase José Dolores that is disturbing the economical interests of England in sugar cane with his army of rebels.

It is impressive the timing of director Gillo Pontecorvo to make and release "Burn!". In 1969, the South America was under military dictatorships promoted by the United States of America to improve their economical and political interests in the region. There are many parallel situations in the colonization process between what was happening in South America in that historical moment and in the fictitious island of Queimada in the previous century. Marlon Brando performs one of the most Machiavellians characters of the cinema history and very similar to the American advisors that supported the foregoing dictatorships (despite not using torture). His character is fascinating as well as his political capability to envision the consequences of his actions; he is indeed the personification of the thoughts and concepts of Machiavelli in "The Prince". My only remark is the use of English language in a Portuguese colony; Mr. Pontecorvo should have casted actors that speak Portuguese to be more accurate. My vote is eight.

Title (Brazil): "Queimada!" ("Burn!")

In the 1830's, the island of Quemada in the Antilles is a Portuguese colony - that is, until an English agent provocateur arrives and inspires the black slaves to rise and expel the colonial authorities. However, as is always the way with revolutions, a group of middle-class power brokers seizes political control and the people's aspirations are betrayed.

Ten years pass, and the sugar industry now requires peace and stability on Quemada. The continuing guerilla campaign by the dispossessed blacks is harming profits. The very same English adventurer is once more despatched to the island, this time to hunt down and eradicate the revolutionaries he created.

Marlon Brando plays Sir William Walker in his best Fletcher Christian English accent and a blonde wig with a life of its own. His is a thoughtful performance, putting across the complexity of the man, a character who is undoubtedly cynical and unscrupulous, but who is also an emotional man and something of a political philosopher. He is certainly effective at what he does.

The direction of Gillo Pontecorvo is somewhat erratic at times. There are points where the narrative is confused, and the gold robbery which drives the plot somehow got left on the cutting-room floor. Jose Dolores' rise to power is the most significant event in the story, but we see nothing of it. During the voodoo carnival, two of the participants are wearing 20th-century soccer shorts. The film's central pivot, the passage of ten years between Walker's two visits to the island, is handled very sketchily by means of a few incongruous London scenes and a voice-over narration.

But there are good things, too. When Santiago's widow hauls her husband's body away, the masonry of the fort stands as a silent metaphor of colonial power - harsh, overbearing and sterile. Brando has some fine speeches, musing on the nature of political legitimism. The fire scenes are visually arresting (though it would have sufficed to have two or three guerillas being shot as they emerged from the burning sugar cane: seven or eight is labouring the point), and Walker is positively luminous against the tortured black shapes of the charred forest, showing in symbolic form that this man thrives on the suffering of the blacks, and that destruction is his natural element.

Most people have not seen this film and I think its a shame because its very interesting in a Costa Gavras sort of way. Brando is always fascinating to watch and this script gives him a chance to play the type of character you would come to expect from him. I have to warn you that he tries an english accent here and its not very good. I thought that Evaristo Marquez who isn't really an actor did a fine job and carried the film well when Brando wasn't on screen. Watching Brando use and manipulate Marquez like a pawn to instigate a revolt is both appalling and riveting to watch. Fascinating story is shot in an almost documentary style but the rough look of the film seems to enhance the story. Nothing glossy, but a hard look at a character with shameless motives. If you liked "Z" then you definitely will want to see this film.

This version (presently available on DVD and US release) is the edited one. Like so many foreign films at the time, was edited for "American audiences". Since the studio had the rights to the film, there was nothing Pontecorvo could do, but watch his masterpiece reduced to nothing. 22 minutes were cut. In addition the DVD version is very poor. The aspect ratio has been changed, and the copy is very poor. As a result of the cuts, the subtle undertones of the relationship between the main characters was altered, as well as the political undertones. Pontecorvo had already conceded the change of title and script change (Spanish island to Portuguese island) because Generalisimo Franco's protest, and his threat not to allow distribution in Spain. It's ashame that at this point the directors cut version is not available , at least as an alternative to the average viewer. It is available , in the Italian DVD . It's in Italian language, with Brando's voice dubbed. The dubbing in this case doesn't take away from Brando's performance (his personal favorite). It has English subtitles. Pontecorvo himself edited this version before his death. It's quality is much better, and has the original aspect ratio. Occasionally shown at art festivals. My rating applies to this version . The real masterpiece .

One of the last films Brando made that he actually cared about, it takes quite a film to live up to that terrific title sequence (complete with music by Morricone) but this certainly rose to the challenge!

One of the most under-rated films of all time. Marlon Brando is at his best playing the cool, witty Sir William Walker. The film is taut and fast paced. Add to this an intelligent script and beautiful scenery as well as an ironic political story and you have an excellent film. Brando carries the film in his portrayal of Sir William Walker, who is ready to play either side of the political struggle to satisfy his government's (Great Britain) needs. He is equally at ease with the rich upper class plantation owners as with the slave sugar cane cutters allowing him to take advantage of both. Where the film triumphs is in its ironic showing of how colonial powers will stop at nothing to get what they want no matter what the cost. Are the islanders of Queimada any better off as an independent country but relying on the British for trade, or as a colony of Portugal? Hard to say. The sugar cane cutters are no better off that's for sure. The musical score by long time Sergio Leone contributor Ennio Morricone captures very well the senselessness of the revolution as well as the fact that the slaves are just pawns in a much larger and dangerous game.Apparently the actor who plays Jose Dolores was an illiterate sugar cane cutter and had never even seen a film. Even with this handicap, he still manages to give the heroic Jose an air of dignity. It is nice to see a film that does not accept that everything is all right in the world and that such a trivial thing as having sugar for our tea, can have life and death consequences for so many people. A film not to be missed.

Queimada is a film I grew up with. I saw it for the first time in Kolkotta, India, in 1970. It's a film with one of the finest scores of Ennio Morricone and an ambiguous performance by Marlon Brando--that makes you wonder if the William Walker role is merely to be viewed as that of a mercenary. In my view, this is Brando's best performance. Recently, I found out that Brando himself stated this performance was "the best acting I've ever did" during a Larry King interview on CNN. It appears that his explanation on why he considered this was cut short by King, who evidently knew little about the film or the filmmaker. And so we will never know why Brando thought this was his best performance. But I think I can guess the reasons.

I have watched the film several times and loved Gillo Pontecorvo's direction of the scenes at the port, which are one of my favorite sequences in cinema. Pontecorvo wanted Brando to create an evil figure of "Sir" William Walker, who was a real person though not a British knight. He was an American mercenary who even went to Indo-China. Brando apparently argued with Pontecorvo that the character instead of a clear-cut evil figure should be more ambiguous and this led to major differences between the two. On viewing the film, it is evident Brando won the argument.

Franco Solinas, the screenplay writer, was a brilliant Leftist who contributed to Pontecorvo's success on "Battle of Algiers" and "Kapo." However, their films rankled the far Left and the far Right. Quiemada's script upset the Spanish government, and the filmmakers changed the details from a Spanish colony to a Portuguese colony. But Brando who probably was aware of the American connection of the lead character must have enjoyed the parallels of the story--knowing his personal love for the native Indian cause.

The film is a witty, cynical portrayal of colonial designs on impoverished poor. Sugar was the commodity in vogue then. A century later you could replace "sugar" with "oil." The film is replete with a brilliant speech penned by Solinas, spoken by Brando that begins by comparing the economics of having a wife versus a prostitute. He then ends the speech comparing the gains of a slave with that of hired labor. The political philosophy is unorthodox but hard hitting.

The visual effect of Brando's blonde hair and white clothes against the black natives is a visual metaphor. It is perhaps most anti-racist movie that I have seen with William Walker in all his glory unable to comprehend the political conviction and values of a native worker who refuses a chance to escape a cruel execution.

This film has a small but significant role for Italian actor Renato Salvatori.

I have seen hundreds of political movies--but this will remain my all time favorite. The film won Pontecorvo in 1970 the best director national award in Italy. The mix of Brando, Pontecorvo, Solinas, Salvatori and Morricone is a heady cocktail that will be a great experience for any intelligent viewer.

Gillo Pontecorvo's bold follow-up to "The Battle of Algiers" has become something of a cult movie over the years for a variety of reasons, (not least for the involvement of Brando), but it is a film that is little seen and was something of a commercial disaster. Set in the Antilles in the mid nineteenth century and dealing with revolution, the studios must have thought they had an adventure yarn on their hands, a swashbuckler albeit with political overtones. But the film is much closer in tone to "The Battle of Algiers" than it is to "The Crimson Pirate" and like "The Battle of Algiers" is almost a revolutionary textbook.

Brando's presence is almost incongruous since Pontecorvo cast an amateur, Evaristo Marquez, as his adversary and the film is certainly no 'star vehicle' even if Brando's performance is one of his finest and surely one of his most perverse. He plays William Walker, an English agent provocateur, sent to the island of Quiemada to instruct the natives in the art of revolt and overthrow the legitimate government, picking an uneducated, if charismatic, native, (Marquez), as the revolution's leader. But he instills in the man a Marxist sense of revolutionary fervor over and above what he had originally planned and finds himself returning to the island ten years later to help quell the revolution he had instigated.

This is a complex, diffuse film shot, (superbly by Marcello Gatti and Giuseppe Ruzzolini), like a documentary. Despite Brando's presence the studios just didn't know how to market it and it was released in a truncated version, (which is one currently reviewed here). If it isn't the masterpiece "The Battle of Algiers" was or lead us to expect from Pontecorvo, it never deserved its fate. Well worth seeking out.

This is, without doubt, one of the best films ever made which deals with the festering malaise of racism, and, by distancing it into the past, Pontecorvo brings home truths that are entirely appropriate to the present day. He brings an almost psychological precision to his films.

Working in close association with Ennio Morricone who augments so many scenes with his stunning score, Pontecorvo creates a film of ideas presented as adventure, with scenes of breath-taking spectacle which are on a par with those of the earliest silent days of cinema, when one could be overwhelmed by the sheer number of extras employed and the vast panoramic canvases presented to us. In a sense, these images of a collective mass of humanity are in themselves an abstract call to insurrection and rebellion; a fearsome judgement on the over-wheening arrogance of white Christian and colonial culture in the past, and those remnants of it that still echo to this day. As those who read my postings may well guess, I believe music plays a tremendously creative role in film, and is a contributory factor of immense importance, and QUEMADA utilises music almost like a weapon in its armoury!

Brando has said, in an interview published some years ago in `Playboy' magazine, that he and Pontecorvo didn't get on well together during the production of this movie, (one perhaps forgets now that when QUEMADA was made, Brando's career was at a very low point!), and yet there is no hint of this in the movie itself, as Brando turns in one of his most measured, considered and subtle performances. So suave, and so genteelly treacherous! Pretending to `do what's right', but eventually `doing what's white'.

Fine and thought-provoking dialogue is a plus: `Freedom is not something somebody gives you. It is something you take for yourself', and there is a powerful scene where, in an unguarded moment of temper, the character played by Brando, who, up until then has shown himself to be the benign white liberal, suddenly hurls a racist epithet at his prisoner, thus reminding us, that every `brother' ain't always a `brother'!

Pontecorvo's films always seem to manage to upset both the Left and the Right of the political spectrum, (from my own libertarian point of view, a source of deep satisfaction), because he has always refused to traffic in slogans or short-term solutions to complex and long-gestating problems. He knows always that human nature is not consistent, and that, (as Shaw once said), `People don't have their virtues and vices in sets; they come all mixed up, anyhow'.

Finally, mention must be made of the superb title sequence; such a stunning and exciting `overture' to the content of the film to come, which stimulates and excites from the very outset.

Gillo Pontecorvo has not made many films, (and whatever happened to OGRO?), but in my view, he has made three masterpieces, and this is one of them. One could almost get nostalgic for the days when, to show the East how laid-back and freedom-loving we in the West were, we allowed heretics to make the occasional movie that dealt with IDEAS... Now that such fine points no longer need to be made at International Film Festivals, seems like `ideas' as an ingredient in films, have been put on the back burner! No doubt we shall all live to regret it!

Queimada or Burn ¡ is a sort of memorable sequel to Battle of Algiers , depicting the efforts of a 19th century British ambassador to put down a slave revolt on a Portuguese-run Caribbean island by carrying out a manhunt . It results to be an Italian-made indictment of imperialist control by guerrilla-director Gillo Pontecorco . It sees Brando in nicely ambiguous form as Sir William Walker , a British agent sent to the Caribbean island of Queimada in the mid-1800s to stir up a native rebellion led by Evaristo Marquez against the Portuguese sugar monopoly . Ten years after , Brando is forced to go back there to destroy the revolution himself created, in order to open up trade with Britain and its overseas market companies .The man who sells war. The bloodier the battle - the higher the price. He's going to make a fortune on this one

Attractive film moving between political allegory and epic adventure , containing a competent imagery and providing a provocative , sharp analysis of colonialism , being professionally directed by Gillo Pontecorvo . Displaying a nice filmmaking by Pontecorvo , giving an intelligent movie , though he never allows the allegory to dominate the human content and working from a storyline by expert on the political sub-genre : Franco Solinas . Marlon Brando delivers a stiff-upper-lipped acting , emphasising his role's confused mixture of deceit and dignity , evil and intelligence . Along with Brando appear other secondaries giving acceptable interpretations , such as : the newcomer Evaristo Marquez , Renato Salvatori , Dana Ghia , Giampiero Albertini , among others . This is a good , fascinating and interesting film, though flawed at times .

In addition , a sensitive and evocative musical score by the great Ennio Morricone . As well as atmospheric cinematography by Marcello Gatii and Giuseppe Ruzzeloni . Shot on location in Cartagena, Bolívar, Colombia , Marrakech, Morocco, Saint-Malo, Ille-et-Vilaine, France and Cinecittà Studios, Cinecittà, Rome, Lazio, Italy , but a perfect remastering being really necessary . Lavishly produced by Alberto Grimaldi who usually financed Sergio Leone films . The motion picture was compellingly written and directed by Gillo Pontecorvo . Being Gillo Pontecorvo's fourth feature film. Although Gillo made fewer than 20 films , he is regarded as one of Italy's greatest directors . He moved to France in 1938 to escape Italy's fascist racial laws. He eventually returned to Italy and led a Resistance brigade during WWII. After the war, he studied chemistry and worked as a journalist before becoming a film director; he started out making documentaries . His first feature film was ¨The Wide Blue Road¨. Pontecorvo was born into a Jewish family , as he directed ¨Kapo¨ that was one of the first films about the theme of Jewish holocaust and one of the more realistic in its recreation . Gillo subsequently directed the successful ¨Battle of Algiers¨ and this ¨Queimada¨ with Marlon Brando and his final feature movie : ¨Ogro , later on, he made Documentaries and Shorts.

A 19th century British diplomat instigates a revolution on the island of Queimada in the Caribbean between the black slaves and the Portuguese colonials in order to break Portugal's hold on the sugar market. An odd bit of political rabble-rousing and quasi-history from director Gillo Pontecorvo, who also worked on the story but seems far more comfortable gazing at the vistas and landscapes of the region rather than staging a riot. Marlon Brando (grizzled, and with a precarious accent) gives a necessarily unsympathetic performance and has some amazing bits and pieces, yet the picture really only comes to life during the montages, sweeping panoramas as scored by Ennio Morricone (whose work deserves the highest praise). United Artists, afraid of offending the Spanish movie market, changed the nationality of the villains from Spaniards to Portuguese in an eleventh-hour move designed for box-office; it was a misguided decision, particularly since U.A. hardly distributed the picture after the critics' reviews were less than enthusiastic. It has only recently acquired a cult following, mostly due to Morricone's majestic music. ** from ****

Albert Oyahon (a previous review) seems to have said it all. This indeed is a deeply complex, gripping and deeply political film. For those who are used to simple moral tales it will seem confusing, uncomfortable even, but for those who relish the complexity of the human condition it is a challenging and thoughtful film. The number of truly outstanding political thrillers can be counted on the fingers of one hand (A Man For All Seasons and Z come to mind) but this ranks amongst the best. With the possible exception of On The Waterfront, it is difficult to think of a film in which Brando gave a better performance. He is outstanding as a complex political manipulator. The film also has qualities that arise only when different cultures (in this case Europe and The Americas) come together. To an intelligent filmgoer I cannot recommend this film too highly.

Synchonic says: >It would be a far more interesting story to try and figure out, or >juxtapose, >why revolutions in the Caribbean or Latin America, >generally led to civil >war ?and dictatorship while the revolution in >North America -- as in what ?>became the USA and Canada, became >peaceful wealthy democracies. Canada never ?>had a revolution, but it >peacefully transitioned from colony into sovereign >nation without a ?>shot or a death.

The revolution in the United States was a rebellion of white people against a white monarchy. American colonists, although in the service of British interest were not slaves and were not black. Further to that the class that revolted in the US were the ruling classes of that continent so when it came to negotiate they were not treated with the same racist vehemence that colored Carribbean people were. That doesn't excuse the the brutality of the eras that followed but it certainly didn't help economic matters, which as we all know is the key to the prosperity of any society.What was very obvious in Quemada was that there was a war of independence but also class crisis : between the ruling Portuguese and the domestic non black islanders and between the black ex-slaves and everyone else.

Also Canada did have rebellions which were put down rather violently. Aboriginal efforts aside, there was the rebellions led Louis Riel in 1869 and 1885, The Upper Canada Rebellion of 1837, Quebec's Silent Revolution that led to the FLQ crisis in 1970 where PM Trudeau instituted martial law and arrested several hundred people without charge.

And what pray tell does Brando's effeteness have to do with anything? all upper-crust gentlemen of that era are effete by our standards.

This is an excellent movie for Brando and history buffs alike. There are many parallels you can make with current events concerning globalization and the role that Multinational Corporations Play.

I was but a child when this film came out. AT the time so-called Spaghetti westerns were the in thing. My closest friend and I went to see another double feature when this movie trailer came on. The sequence was great but what was most memorable was the movie score. AT the time I was not familiar with the name Ennio Morricone. It's funny how that music alone sold the movie to us; just as Morricone's music carried Good, Bad, and the Ugly, and "Once Upon a Time in the West." We did go to see Burn when it did arrive but I can't remember much of it; being 10 years old, following a political movie wasn't within my grasp then. I remember getting away from home at the risk of a sound spanking to go see "Burn." I'm now seeking to own the DVD if it's out.

True, Brando walks away with every scene he's in- but when doesn't he?

The other actors are clearly non-pros, which gives it at times the feel of a documentary, and at times the feel of a bad student film, and yet the depth of the topic rises above these minor quibles. It's a great film that should be seen by every social studies class, it has much to say and it says it well. Highly recommended.

Gilo Pontecorvo has crafted an extremely intense documentation of the use of human beings as slaves, and how do those slaves free themselves not only mentally but physically. Evaristo Marquez plays Jose Dolores with an intensity and intelligence as a symbol of oppression. Marlon Brando plays William Walker who is is sent to Portuagal occupied sugar plantations to manipulate slave Jose Dolores into leading a revolt against the Portuguese, which will later allow England to dominate the slaves themselves. Complication arises once the slaves have had a sense of power and freedom. Their reaction becomes baffling to the Portugese and to the British.

Both Brando and Marquez give forceful performances giving their relationship a love/hate subtext. The scenes in which Walker trains Jose to revolt through manipulation are fascinating to watch. Dierector Pontecorovo once again proves he is a master of crowd scenes and mass destitution on screen, as he did in the more well received THE BATTLE OF ALGIERS. Morricone also as usual lends a haunting score. It would be hard to imagine a film like this being made today in such blunt fashion, but the manipulations of those in power over the servitude continues to be relevant. BURN doesn't have solutions to the problem of Man's desire for domination, but it gives it one hell of a vision of the motivations and calculations empires will do to control others and ensure their domination in the World.

At times film seems to be a bit choppy and loses focus, but this was know to be a problematic production to begin with. There are several versions of the film with slightly longer running times. In some ways the dubbing of voices and awkward transitions lend to a more haunting and gritty experience while watching the film. The scenes of battles and dances seem so authentic it almost feels as if the cameras is witnessing events that occurred hundreds of years ago.

Brando himself seem to really be enjoying playing the somewhat sadistic, but at time empathic Walker. He shows know fear that his playing with the victims of colonialism like a game of chess could result in dire consequences not only for England, but for himself.

BURN! (3 outta 5 stars)

Very good drama about colonialism with Marlon Brando playing the real-life character of William Walker... who teaches a colony of black slaves to take charge of their lives and fight against their Portuguese masters... only to have to face the self-same black fighters later on when they have becomes the enemies of England. Great score by Ennio Morricone. Not really an action/adventure picture... so if that's what you're expecting you may be disappointed. Nonetheless, it is well-acted (despite some bad dubbing) with some great scenes and dialogue. I have only seen the truncated American release. I suspect if I ever see the extended version (with 20 extra minutes) my rating could be higher. At times the editing does seem really choppy... but that may just be the style. Ed Harris played the same character as Brando in the later film, "Walker".