João and the Knife (1972)

Directed by: George Sluizer | 95 minutes | crime, drama | Actors: Joffre Soares, Ana Maria Miranda, Joao-Augusto Azevedo, Douglas Santos, João Batista, Áurea Campos

‘João en het knife’ is the feature film debut of the famous Dutch filmmaker George Sluizer and it is a surprising and intriguing start to his career. Although the film hardly has a plot and it takes a while before some important characters come to life – if at all – Sluizer manages to slowly but surely grab the viewer with his setting and sustained tension.

Sluizer cannot be inspired by it, because the film was released in the same year, but ‘João en het knife’ is sometimes very reminiscent of ‘The Godfather’. The themes of honour, respect, punishment… the importance of family… it all comes back in this film. But the elaboration of certain scenes, both technically and substantively, evoke memories of Coppola’s masterpiece. The scene at the beginning of the film in which João (Joffre Soares) asks the judge (João Agusta Azevado), also his boss and friend, for permission to marry the much younger Maria (Ana Maria Miranda), is very similar to the scene in ‘The Godfather’ where Vito Corleone (Marlon Brando) is asked for a favor at his daughter’s wedding. The long monologue, João’s submission, the silent listening by the judge from behind his desk, the dark room in which it takes place… the similarities are not to be missed. Even the music shows similarities at certain moments.

It cannot be anything other than coincidence, but it does show the same feeling for atmosphere and themes in both directors. Farfetched? Okay, one more then. Like Coppola, Sluizer knows how to build up the tension that arises from (almost) irreversible impending doom and make it almost unbearable. Like – in ‘The Godfather’ – someone who betrayed the family knows for sure that he will be killed, even if they go for a ‘fun’ ride first. That resignation, the acceptance. But also at the same time: the way in which enemies – or possible enemies – try to read each other and try to assess the situation. During a small talk or a walk in the park, you can feel how they are both wary and – against their better judgement – ​​racking their brains, looking for a possible way out.

All this can be felt in the second half of ‘João and the knife’. Then cowherd João – who has just spent four years mining rubber in the Amazon to get rich – discovers that his young wife has left their home and is walking with a child by her arm. He sees this as disrespectful and is overcome with feelings of jealousy; because is the story that his wife ‘only’ takes care of a friend’s child is true? He goes on a trip (a boat trip on a river) with his wife, back to their shared house. But not before buying a knife and casually announcing that he’s going to use it to kill Maria.

Doesn’t look like he’s kidding; and he doesn’t: he really intends to. Maria knows that too, but she feels unable to flee; she does seek help from acquaintances, but they immediately believe João when he says it is a joke and his wife is a stupid person. Moreover, it is only an intention, and no one can be arrested for that. It is – and will be – an intense journey, without much happening. And although the end goal seems inevitable, as a viewer you still get hope for a different ending.

This second half of the film makes up for a lot, at least in terms of content, because the first half has little to offer outside of the beautiful local color and the authentic atmosphere. The characters barely come to life and nothing interesting happens. It is true that João tells a lot about his past, but it is difficult to understand him properly or to feel (sympathetic) for him. He is probably intended as a tragic figure, who always wants to take on the role of shepherd, including for his wife(s) and children. Someone who doesn’t feel like a man if he can’t fill this role. But, at least in the first half of the film, it’s hard to really feel or understand this. In addition, his bond with or love for his young wife is not expressed in their scenes together. They seem to be strangers to each other the moment they get married, and that doesn’t change much.

Nevertheless, the film picks up well in terms of content and it is also a beautiful film to watch, with the lush nature of the Brazilian interior and the excellent camera work by Jan de Bont (apart from some distracting ‘kung-fu’-like zoom-ins). ). In addition, the film gives an interesting insight into the prevailing customs and culture, including the relationships between men and women and the different classes. In short, a more than deserving and promising start for Sluizer, this ‘João and the knife’.