The Hour and Turn of Augusto Matraga

The Hour and Turn of Augusto Matraga (Portuguese: A Hora e a Vez de Augusto Matraga) is a Brazilian drama film from 1965, directed by Roberto Santos, and based on the short story by well-known Brazilian writer João Guimarães Rosa. The film stars Leonardo Villar in the titular role and is supported by Jofre Soares and Maria Ribeiro, among others. It is a compelling tale of redemption, spirituality, and the human condition, nestled within the rich cultural backdrop of the Brazilian sertão, the country's arid hinterland.

The narrative follows the life of Augusto Matraga (Leonardo Villar), a wealthy and virile rancher, who is renowned for his violent temper and domineering presence in the region. His life is one of power, reckless pleasure-seeking, and disregard for the feelings and rights of those around him, including his devoted wife, Dionora, portrayed by Maria Ribeiro, and his child.

As is often the case with stories on the universal theme of redemption, Matraga's fall comes as swiftly as his ascent. After a particularly brutal confrontation, Matraga's enemies band together, orchestrating a savage retribution that precipitates his dramatic plunge from the heights of power to the depths of destitution and despair. Stripped of his wealth, his family, and left for dead, the story pivots on Matraga’s reckoning with his life choices and character.

However, The Hour and Turn of Augusto Matraga refuses to tread a simple path of morality or predictability. Instead of immediate penitence and conversion, Matraga's journey is long, arduous, and textured, peppered with moments that oscillate between his innate brutality and a growing awareness of a more spiritual and compassionate existence. His transformation is neither linear nor assured, and it is in these gray shades that the film establishes its profundity and resonance with audiences.

The sertão backdrop plays a central role in the film, not merely as a physical setting but as a thematic and philosophical landscape. The harshness of the region mirrors Matraga’s initial imperviousness and severity. Moreover, it is in these unforgiving surroundings that Matraga embarks on the road to redemption, engaging with a variety of characters that challenge and support him in equal measure.

Jofre Soares delivers a memorable performance as a local leader, who becomes a crucial figure in Matraga's life. The dynamic between these characters unfolds core philosophical questions about sin, redemption, power, and the possibility of personal rebirth. In the context of the Brazilian Northeast, these themes weave through the societal issues of the times and provide the backdrop for Augusto Matraga’s existential confrontation with himself.

Director Roberto Santos showcases an astute grasp of cinematic storytelling, balancing a stark portrayal of Matraga's brute reality with poetic moments that explore the internal transcendence he experiences. The cinematography capitalizes on the landscapes to visually echo the narrative's thematic content, while the score subtly reinforces the emotional tenor of the film.

The Hour and Turn of Augusto Matraga is a title that evokes a sense of destiny woven with critical choice, suggesting that there is a particular moment in which a man must face the sum of his actions and make a pivotal choice that will define his ultimate path. Matraga's crisis is both intimate and epic, personal, and universally relatable, encapsulating the notion that every life is capable of transformation, but such change can only come at a significant cost.

In Brazilian cinema, the film holds a special place as a classic piece, significant for its portrayal of national themes and the philosophical depth it brings to the archetype of the morally fallen individual seeking redemption. As such, it has continued to engage academics, critics, and movie enthusiasts alike as an exemplar of potent storytelling, allowing for a rich interpretation across cultural and temporal divides.

Leonardo Villar's performance as Matraga is particularly heralded as one of conviction and intensity. His ability to translate the character’s inner turmoil and evolving consciousness through a nuanced and robust portrayal anchors the film and provides an emotional center that audiences gravitate towards.

Upon its release, The Hour and Turn of Augusto Matraga received critical acclaim and was acknowledged for its quality and significance in Brazilian and international cinema, representing Brazil in the Best Foreign Language Film category at the 1966 Academy Awards. It encapsulates a period of Brazilian cinema where storytelling transcended the limitations of the screen to wrestle with deeper, existential queries, holding up a mirror to humanity through the lens of a personal journey, a narrative choice that remains potent and engaging to this day.