In the Land of the Amazons

Plot

No País das Amazonas is a groundbreaking 1922 Brazilian documentary that provides a comprehensive view of life and industry in the Amazon region. The film begins by showcasing the indigenous peoples of Amazonas, capturing their traditional ways of life and cultural practices. It then systematically documents the emerging economic activities of the region, following each step of the production process in local industries, including the departure of workers from factories at the end of their shifts. The documentary extensively covers river transportation, the fishing and preparation of manatee (peixe-boi), rubber tree cultivation and processing from extraction to export-ready mattresses, and the harvesting and preparation of Brazilian chestnuts, guaraná, and smoke. The film also devotes attention to the diverse insect life of the Amazon, creating a complete portrait of the region's ecosystem and economy during the early 20th century.

Historical Background

No País das Amazonas was created during a pivotal period in Brazilian history, known as the Belle Époque or the Rubber Boom (1879-1912, with lasting effects into the 1920s). This era saw the Amazon region transform from a remote frontier into one of the wealthiest areas in the world due to the global demand for rubber. The film captures this moment of transition, showing both traditional indigenous ways of life and the rapidly expanding industrial infrastructure. 1922 was also the year of Brazil's centennial of independence, making it a time of national reflection and celebration. The documentary emerged alongside Brazil's early film industry, which was developing its own unique voice separate from European and American influences. The film serves as a valuable historical document of the Amazon before major environmental changes and the decline of the rubber economy.

Making Of

The production of No País das Amazonas was an ambitious undertaking for its time, requiring extensive planning and resources. Director Joaquim Gonçalves de Araújo assembled a small crew that had to navigate the challenging Amazonian environment, dealing with everything from tropical diseases to transportation difficulties. The team traveled by river boat for weeks to reach remote filming locations, often camping in the jungle for extended periods. The indigenous communities featured in the film required careful negotiation and building of trust before filming could begin. The industrial sequences were particularly challenging to film, as the crew had to work around actual production schedules while capturing the various stages of manufacturing processes. The film's comprehensive approach to documenting both natural and industrial aspects of Amazon life was unprecedented in Brazilian cinema at the time.

Visual Style

The cinematography of No País das Amazonas was remarkable for its time, utilizing natural lighting to capture the lush Amazonian environment. The film employed static shots typical of the period but demonstrated sophisticated composition in framing both natural landscapes and industrial scenes. The camera work in the sequences showing river transportation and manatee fishing was particularly innovative, using long takes to capture the full processes. The industrial sequences featured careful tracking of production stages, showing a systematic approach to documentary filming that was ahead of its time. The black and white photography effectively captured the contrasts between the deep shadows of the jungle and the bright sunlight of open areas, creating visual interest despite the technical limitations of early 1920s camera equipment.

Innovations

No País das Amazonas achieved several technical milestones for Brazilian cinema in 1922. The successful filming in the challenging Amazonian environment demonstrated remarkable logistical planning and technical adaptation. The crew developed special methods for protecting camera equipment from humidity and insects, innovations that would influence subsequent location filming in tropical regions. The film's comprehensive coverage of industrial processes required the development of new documentary filming techniques, particularly in capturing sequential stages of production. The use of long takes to show complete processes like rubber extraction and preparation was technically demanding and innovative for the period. The film also demonstrated early mastery of filming on water, with several sequences shot from boats navigating the Amazon River and its tributaries.

Music

As a silent film from 1922, No País das Amazonas was originally presented with live musical accompaniment. The typical score would have been performed by a small orchestra or pianist, featuring popular Brazilian music of the era including modinhas and choros, along with classical pieces that matched the mood of different scenes. For the indigenous sequences, music inspired by native rhythms was likely used, while the industrial scenes would have been accompanied by more structured, mechanical-sounding compositions. The soundtrack was designed to enhance the documentary aspects of the film while maintaining audience engagement. No original score or cue sheets for the film are known to survive, so modern screenings typically use period-appropriate Brazilian music from the 1920s.

Memorable Scenes

• The opening sequence showing indigenous people in their traditional village, with their daily activities and cultural practices captured on film for perhaps the first time
• The comprehensive rubber processing sequence, from tapping the trees to the final preparation of rubber mattresses for export
• The manatee fishing scenes, showing traditional fishing techniques and the subsequent preparation of the meat with salt
• The powerful final scene of workers leaving the factory at the end of their shift, symbolizing the meeting of traditional and modern worlds

What Critics Said

Upon its release in 1922, No País das Amazonas was praised by Brazilian critics for its ambitious scope and technical achievement in capturing the remote Amazon region. Contemporary reviews in newspapers like O Estado de S. Paulo and Jornal do Brasil highlighted the film's educational value and its role in promoting national unity by showcasing Brazil's diverse regions. International film journals of the period, while limited in their coverage of Brazilian cinema, noted the film's technical proficiency and comprehensive approach. Modern film historians and critics view the documentary as a foundational work in Brazilian cinema, with particular appreciation for its ethnographic elements and its role in preserving visual records of Amazonian life from the early 20th century. The film is now studied in academic contexts for its historical value and its contribution to the development of documentary filmmaking techniques.

What Audiences Thought

Contemporary audiences in 1922 received No País das Amazonas with great enthusiasm, particularly in urban centers like Rio de Janeiro and São Paulo where there was tremendous curiosity about the Amazon region. The film's screenings were often accompanied by lectures about the Amazon, making them educational events as well as entertainment. Many viewers were fascinated by the exotic images of indigenous peoples and the industrial processes of rubber production, which were largely unknown to most Brazilians living in the southern parts of the country. The film helped create a sense of national identity by introducing urban audiences to the diversity of their own country. Modern audiences, when able to view the surviving portions of the film, are struck by its historical value and the window it provides into a vanished world.

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