Apr 21, 2013
Something tells me that Adolf Hitler would have never even visited an area of sheer and utter racial chaos and, in turn, mongrel trannies, like Brazil under any circumstance, but such is the absurdist scenario of the rarely-seen Brazilian work Hitler IIIº Mundo (1968) aka Hitler Terzo Mundo aka Hitler Third World – an innately iconoclastic film that was not released until the symbolic year of 1984, which was 16 years after it was initially completed, due to its highly controversial subject as a naughty anti-Nazi scat flick with a far-left message. Featuring scenarios of sickening and sardonic scatological surrealism, Hitler Third World directed by unknown-auteur José Agripino de Paula is the virtual missing celluloid link between the films of Alejandro Jodorowsky and Christoph Schlingensief as a work of tyrannical tragicomedy that never wavers in its brazen bombardment of the viewer with a bodacious blitzkrieg of highly cynical yet campy imagery, albeit of the quasi-genocidal and classless sort, where everyone is poor and destitute (in a film that literally utilizes the poor and destitute as extras). Famous Brazilian folk singer Caetano Veloso – a man that was hated by the country’s military dictatorship – once stated, “It is worth repeating that Hitler, Third World of 1968 is the most radical and extraordinary attempt at alternative cinema out of everything that has been tried in Brazil,” and, indeed, it is undoubtedly unlike any Brazilian film I have ever seen, even if it is no Pixote (1981), but it certainly has its fair share of peculiar ‘poverty porn,’ including groups of racially dubious feral children without shoes following around a degenerate and highly suicidal samurai who, due to his grotesque obesity and sheer lack of mobility, probably should have been a sumo wrestler instead. Unquestionably one of the most uniquely unconventional and aesthetically debauched Uncle Adolf flicks ever made—not least of all because we are supposed to believe that the fallen Führer and the Third Reich has risen in a massive Third World sewer of all places—Hitler Third World is indisputable proof that degenerate cinematic dreams can happen, even in a nation where the Nietzschean untermensch is the norm, even among the elite, including the hedonistic homo Hitler featured in the film. A morally retarded work with an innate non-Aristotelian logic that was made illegally utilizing guerrilla filmmaking techniques in the ghettos of Brazil, Hitler Third World is an indisputable left-wing libertine work made at a time when not all quasi-Marxist types were politically correct pansies. Indeed, as Hitler Third World proves, the motto of Brazil is not “Ordem e Progresso” ("Order and Progress") for nothing.
With super swarthy would-be-Hispanic revolutionary Che Guevara dead (yes, despite what various rappers and pseudo-hippie other sub-literate degenerates think, the “great liberator” was a white man), Brazil is ready for a new kind of revolution and with 99% of Brazilians being ‘indifferent’ in political polls and 1% being fascist, Uncle Adolf, who is running as a 'conservative democrat,' is ready for a big takeover of the multicultural third world nation, where he will eventually turn it into a libidinous Third World Reich of the even more culturally retarded and racially chaotic sort. Meanwhile in Brazil, a morbidly obese and suicidal samurai (played by Brazilian comedian Jô Soares) is trying, quite feebly, to commit seppuku around the empire of sewage and trash that is Brazil, but before that, he wants to succeed where Claus von Stauffenberg failed by assassinating Hitler. In another part of the city a mutant ‘rock man’ that looks like some sort of crack-addicted X-man, causes minor trouble around the city, but his greatest sin is being ugly as sin. Thankfully, novice National Socialist soldiers torture leftist students and a seemingly cross-dressing judge decides it is wise to exterminate an extra-erotic beauteous naked woman from an unmentioned crime. Uncle Adolf, who no longer seems to admire the aesthetically pleasing works of Richard Wagner and Arno Breker, does such important things as admiring his beatnik friend's gigantic Batman painting and brushes his teeth while naked as his one-eyed friend masturbates in the shower. Not long after, a less than young woman asks Hitler aka ‘War Lord’ if he knows anything about her young lover's dubious imprisonment, but in bureaucratic fashion, he tells her to consult the ‘Torture Department.’ Not long after, Hitler’s one-eyed friend somehow morphs into the fat samurai and kills the seemingly faggy Führer, where he lays bloody with his shriveled genitals exposed, but somehow the Nazi leader is alive again in the next scene wearing a fruity Hawaiian shirt and listening to his favorite song, Schubert’s “Serenade.” Uncle H makes no lie of the difficultly of keeping order in the Third World and he uses torture chambers with cages full of anal-probing stormtrooper cavemen to do so. One of the Nazi Neanderthals castrates the cock of a communist student and a blind black man shows up not long after for whatever reason. Meanwhile, the politically radical rock-man is arrested in the streets by the military police and the samurai is finally successful at dying, but it is not by his own hand, but that of a bullet shot by a Svengali-like one-eyed Nazi that is friends with Hitler. Luckily, multicultural Brazilian children, including Negroes, Indians, and something in between, decide to cover the samurai's extra-bloated corpse with a newspaper. In the end, Adolf Hitler congratulates his long-haired, mixed-raced student soldiers for graduating into the multicultural regime of the Third World Reich, while the samurai—who is, quite inexplicably, once again alive—finally gets to commit seppuku after becoming quite agitated with what he sees on television regarding the state of Brazilian politics. Needless to say, he is no Yukio Mishima.
When it comes to films about Nazis in Brazil, Hitler Third World is about as far away as it could be from the almost equally nonsensical Hollywood film The Boys from Brazil (1978), as a sort of neo-Dadaist piece of crude celluloid debauchery as if directed by George Grosz for a group of mestizo mental patients. While an absurdist avant-garde work of the amateurishly directed sort with a plot that is about as coherent as a Matthew Barney flick, Hitler Third World—a politically far-left work—does feature rather cliché political messages, including associating the United States with the Third Reich and portraying Hitler as a hysterical homo, but the film does not even feature a single authentic Aryan (but maybe a couple of Mediterraneans and Hebrews), aside from a blonde midget. Of course, I would be lying if I did not admit that Hitler Third World lives up to its exquisitely schizophrenic title as an absurdist work about the long post-mortem Führer attempting to put order into a world without order and without racial purity. Indeed, one need not worry about Brazil ever turning into an European ethno-state as the country acts as the virtual archetype for globalists and multiculturalists around the world as a place where people of non-white ancestry (i.e. black and Amerindian) proclaim to be white as social class is more important there than blood and—unlike the United States—miscegenation has been rampant since the arrival of the Portuguese in 1500. As a work of sardonic arthouse trash, Hitler Third World rates just under Schlingensief’s early work of scatological libertinage Menu total (1986), but in terms of sociopolitical message, José Agripino de Paula’s film has about as much depth as a Spielberg or Michael Moore film, which is not bad considering it was the director’s only feature-length effort. If one thing is for sure, it is that Hitler Third World would have probably flabbergasted and repelled Adolf Hitler more than Charlie Chaplin’s Hitler-hating satire The Great Dictator (1940). With all the hateful ‘anti-hate’ portrayals of Hitler and the Third Reich that feature kosher cliché after kosher cliché after kosher cliché, Hitler Third World is certainly a breathe of aesthetically foul and farcical anti-Führer fresh air.
Posted by Soiled Sinema at 10:43 PM
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