The revolutionary struggle has suffered in recent years as a concept. Not only that, the Soviet Empire collapsed and communism had all made Revolutionary before the end. Smaller and smaller the Islands of resistance were. Cuba, Vietnam. Last individual countries in the Arab world. Always with the same result: The System is stronger.
Only in Latin America and – after the election of the right-wing populists Jair Bolsonaro for President – especially in Brazil seems to be the naive Belief in the correctness of the armed struggle continued unabated. In the country a Name: Carlos Marighella, a leading intellectual light of the concept of “urban guerrilla warfare has always been”. After Ché Guevara’s death in Bolivia in 1967, he goes underground to shatter for now the big idea of the anti-imperialist struggle, so that they detach from the party and independent groups are active by the terror attacks, Bank robberies and kidnappings made popular. The Problem was the same as in the case of all the failed attempts in other countries: no one supported you.
in The end, Marighella completely alone
the white of the Brazilian actor and Director, Wagner Moura, of course. His Hero is a tragic figure. He may occur so convincing in his consciousness of injustice, and in 1964 to Power geputschte military junta gives him plenty of good reasons at Hand, there is no way of violence for the good leads you want to the masses. Unless, one is dead and is a legend. Precisely this Mythologizing “Marighella”. Moura wants to have been lured to remember a patriot who is revered by Jean-Paul Sartre, 1969, in an ambush in Sao Paulo and executed.
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this time, Marighella 58, so much older than the students who read his “mini-manual of the urban guerrillas” also in Germany as a confirmation of their own radicalisation. But for Moura this man has no age. The musician Seu Jorge plays him as a gently resolute, humorous leader, the personality sends its followers, especially by virtue of his engaging in a hopeless battle. But it is hardly a comrade-in-arms escape the fate of treason, the waiting in torture to you. So Marighellas group remains largely isolated, while they will be gradually decimated. At the end of Marighella is completely alone. A black Jesus is the third world, of his Disciples, a priest, to the knife delivered.
revolutionary impulses no longer differently as a sentimental justify? Not only that, the Film wants to legitimize political Terror from the feeling of fainting, he makes his protagonists constantly intimately embrace. All of them are always stirred to continue terribly, while you whip out in the next Moment their weapons and wild gunfights with their pursuers from the state police. This is revolutionary Kitsch.
John Travolta would actually be Brazilian
But that’s not the worst of it. The image of the noble outsider reinforced Moura for the fact that its main protagonist is the only Black in the Cast, and even though Carlos Marighella, with its Amerindian and African roots is not a difference of his ancestors, among others, slaves from the Sudan – just by his skin color by his countrymen. He was a mongrel as 38 percent of Brazilians. To show him as Black, and with a set target as, “a Black kill a Red to kill”, from the political conflict, and that makes him a racist. And in such a way that everyone understands it as such.
If Moura should ever doubt, whether his Hero is a modern resistance parabola, so he has not respected you at any rate. What is created as a sad story about the fatal self-dynamics of violence, is soon to be a revenge Drama between Marighella and his hunter, Commissioner Lúcio. Bruno Gagliasso has played the part of police officers to adequately mercilessly, as John Travolta would actually be Brazilian. But not even his brutality the punch line justifies that the myth of Marighella’s a promise.
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Jair Bolsonaro the Power of Brazil will be a Land of the past
Philipp light Beck
16.2., 9.30 am (HdBF), 12 and 19 at (Friedrichstadt-Palast)
