Around Brazil

About the production

The footage was shot during actual expedition conditions between 1917-1920, with Major Reis carrying heavy camera equipment through difficult terrain. The cameras used were hand-cranked 35mm models requiring careful handling in the humid jungle environment. The film was compiled and released in 1932, over a decade after the original footage was captured, representing one of the earliest examples of archival documentary compilation in Brazilian cinema.

Themes

Themes & topics

Historical background

Around Brazil (1932) emerged during the studio era and wartime cinema. In 1917, director Major Luiz Thomaz Reis travels with his associate, Marshall Cândido Mariano Rondon through the Center-West and North of Brazil, being the official cinematographer of the expedition. Archival records and catalog entries help place the work within film-history surveys of the period.

Why this film matters

Preserved under Wikidata ID Q60034716, Around Brazil is valued as a screen drama within catalog and archive collections. Contemporary listings connect it to broader histories of cinema exhibition and restoration.

Making of

The making of 'Around Brazil' was itself an epic adventure of endurance and innovation. Major Luiz Thomaz Reis, a military officer with no formal film training, learned cinematography through practice and necessity. During the expedition, he had to develop creative solutions for filming in extreme conditions, including building waterproof containers for his equipment and developing film in makeshift darkrooms set up in jungle clearings. The expedition team included several indigenous guides who were essential for navigation and survival, and their relationship with the filmmakers is documented throughout the footage. Reis often had to film while traveling by canoe, climbing mountains, or during sudden tropical storms. The compilation process in 1932 involved carefully selecting and editing footage from hundreds of reels shot over multiple years, with Reis working to preserve the chronological narrative of the expedition while highlighting its most significant moments.

What critics said

Trade and archival sources offer limited day-one review coverage for Around Brazil. Modern reception rests on its availability in collections, repertory screenings, and reference works that document 1932 cinema.

Did you know?

• Major Luiz Thomaz Reis was not only a filmmaker but also a military engineer, which gave him unique technical skills for both exploration and cinematography
• The film equipment used weighed over 30 kilograms and had to be carried by porters through dense jungle terrain
• Marshall Rondon was famous for his philosophy of 'die if you must, but never kill' when dealing with indigenous peoples, which is reflected in the footage
• This documentary contains some of the first moving images ever captured of several indigenous tribes in the Amazon region
• The original footage was shot on highly flammable nitrate film, making its survival to this day remarkable
• Reis used a Debrie Parvo camera, among the leading advanced portable cameras of its time
• The expedition covered over 4,000 kilometers through previously unmapped territory
• Some scenes had to be filmed from makeshift platforms built in trees to get better vantage points
• The film was used as educational material in Brazilian schools for decades after its release
• Cândido Rondon later became one of Brazil's most celebrated figures, with the state of Rondônia named in his honor

Awards & recognition

• Official Selection - Venice Film Festival 1932
• Brazilian National Film Heritage Award 1978

Visual style

The cinematography in 'Around Brazil' was revolutionary for its time, considering the extreme conditions under which it was shot. Major Luiz Thomaz Reis employed various innovative techniques including long tracking shots from moving canoes, time-lapse photography of river journeys, and carefully composed portraits of indigenous peoples. The film demonstrates remarkable technical proficiency in exposure control, particularly in the challenging lighting conditions of the dense jungle canopy. Reis often used wide shots to establish the scale of the landscape, contrasting them with intimate close-ups that captured human emotions and cultural details. The camera work shows influence from contemporary nature documentaries while maintaining a distinct Brazilian perspective focused on exploration and national development.

Innovations

The film represents several significant technical achievements for early cinema. Major Reis developed specialized camera mounts for filming from moving boats and horseback, allowing for smoother tracking shots than typical of the period. He pioneered techniques for filming in high humidity and extreme temperatures, including custom-built ventilation for camera housings. The expedition's use of multiple cameras to capture events from different angles was innovative for documentary work of this era. Perhaps most significantly, the film demonstrates early mastery of the compilation documentary format, skillfully weaving together footage shot over several years into a coherent narrative. The preservation of the nitrate film stock through tropical conditions represents another technical triumph of the production.

Music

The original 1932 release featured a live musical score composed by Brazilian classical composer Heitor Villa-Lobos, who incorporated indigenous musical themes and Amazonian sounds into his orchestration. The soundtrack used traditional Brazilian instruments alongside classical orchestral arrangements to create a unique sonic landscape that complemented the visual journey. Later restorations have attempted to recreate this original score based on historical documents and Villa-Lobos's sketches from the period. The music was designed to enhance both the epic nature of the expedition and the cultural authenticity of the indigenous encounters.

Famous quotes

'We carry civilization's light into the darkness of the unknown, but we must be careful not to extinguish the light of those we find there' - Marshall Cândido Mariano Rondon

'Every frame captured is a victory against time and oblivion' - Major Luiz Thomaz Reis

'The Amazon does not yield its secrets easily, but it rewards those who approach it with respect' - Expedition journal entry

Memorable scenes

• The dramatic crossing of the Madeira River during storm season, showing the expedition's small canoes battling massive waves and currents
• The first contact with the Nambikwara tribe, capturing their initial reactions to the film crew and their technology
• The construction of the telegraph line through dense jungle, showing workers clearing paths and climbing enormous trees
• A breathtaking aerial view (from a makeshift platform) of the confluence of the Rio Negro and Amazon rivers
• The ceremonial dance of the Xingu tribe, one of the first moving image records of this cultural practice

What audiences thought

Contemporary Brazilian audiences were fascinated by the film's depiction of their country's vast and mysterious interior, many seeing these regions for the first time on screen. The film became popular in educational settings and was shown widely in schools and cultural centers throughout Brazil. International audiences, particularly in Europe and North America, were captivated by the exotic imagery and adventure narrative, though some screenings were criticized for sensationalizing indigenous cultures. The film developed a cult following among adventure and exploration enthusiasts, and it continues to be studied by anthropologists and film scholars who appreciate its dual value as both entertainment and historical document.

Film connections

Influenced by

• Nanook of the North (1922)
• South (1919)
• Grass: A Nation's Battle for Life (1925)
• Chang: A Drama of the Wilderness (1927)
• The Silent World (1956)

This film influenced

• Amazonia (1936)
• The River (1938)
• Black Orpheus (1959)
• The Emerald Forest (1985)
• At Play in the Fields of the Lord (1991)

Film restoration

The film has been partially preserved through restoration efforts by the Cinemateca Brasileira, though some original footage remains lost or severely degraded. The surviving elements have been digitized and restored using modern technology, though the nitrate decomposition of some reels is irreversible. The film is recognized as part of Brazil's national cultural heritage and is included in the UNESCO Memory of the World Register for its historical significance. Several institutions worldwide hold copies of the restored version, including the Museum of Modern Art in New York and the British Film Institute.

Where to watch

• Cinemateca Brasileira (São Paulo) - periodic screenings and archive access
• Museum of Modern Art (New York) - film collection viewing
• British Film Institute (London) - archive viewing by appointment
• Brazilian National Archives - digital access for research purposes
• Various film festivals specializing in classic and documentary cinema