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Missionaries travel to the Brazilian rain forest and make a mess of everything. What else is new? Actually, plenty in this dark but beautifully realized adaptation of Peter Matthiessen's well-regarded novel, directed by Hector Babenco. Aidan Quinn, Daryl Hannah, Kathy Bates, and John Lithgow play the Americans who travel to the Brazilian interior in an effort to do some good. But their definitions of good vary wildly; Bates and Lithgow are old-fashioned puritans who want to convert the heathens to Christianity and remove all traces of their own culture. Quinn and Hannah are more spiritually minded, hoping to make a connection and a cultural exchange with the Indians they encounter. In the end, they're all delusional, trapped in their own preconceptions. Downbeat but magical in its way, with sterling performances all around and amazing scenery, to say the least.
--Marshall Fine
Hector Babenco's film, which is based on Peter Matthiessen's 1965 novel of the same name, feels lifeless right from the start, and it perks up only occasionally in the course of the three hours and ten minutes it takes to tell its story. The movie is set in the Amazon bASIN, and it's about the destruction of an Indian tribe by a combination of capitalist greed (in the form of the local authorities) and cultural insensitivity (in the form of Protestant missionaries from America). Matthiessen's epic may have held some surprises for its mid-sixties readers, but its ideas have since lost a lot of their power and all their freshness. The dramatic conflicts aren't very complex, and most of the characters are one-dimensional, instantly readable. Yet Babenco treats every scene as if it contained infinite riches: he draws out simple actions, reiterates obvious ideas, lingers on the faces of characters who have no more secrets to yield up. Among the actors-a high-powered group that includes John Lithgow, Tom Berenger, Kathy Bates, and Daryl Hannah-only Aidan Quinn, as a young missionary who learns to respect the Indians' culture, comes through at all. An air of fatigue and defeat pervades the picture. The efforts that Babenco and his actors have put into dramatizing this material is heartbreakingly apparent, yet, no matter how hard they work, the scenes refuse to play, and the movie never manages to generate any real momentum. It's an honest, well-intentioned flop. Screenplay by Babenco and Jean-Claude Carrière. -Terrence Rafferty
Copyright © 2006
The New Yorker