There are lots of fascinating location scenes set in the jungles, countryside and towns of Brazil, but the story about the the native boy (Sabu!) who is brought up river to civilisation, is rather clumsily told. Most of the clumsiness stems from the (mainly) frightfully British cast who unconvincingly play Brazilians. Some attempt native accents, while some carry on as though they're in Dickensian melodramas. Speaking of 'carry on', Charles Hawtrey plays a beleaguered servant rather well. Despite the clunks, there's a lot to be admired in this film. It couldn't have been easy to shoot in the South American jungles of 1947, let alone when you're directing your first feature film (Derek Twist). Hats off to Michael Powell and Emeric Pressburger for having a go. Check out Bibi Ferreira (who plays Sabu's girlfriend) and her background.
4 Reviews
Civilization vs. Sabu
alonzoiii-124 September 2009
Sabu, a member of a primitive Amazonian tribe, is exiled from his homeland. Can he find a place in modern Brazil, or he will he end up jailed or executed for violating the complicated laws that govern the society at THE END OF THE RIVER?
The Tories/Conservatives of Great Britain were great believers in knowing one's place in society, and staying there. This movie is as direct an advocate for that position as I have ever seen. Sabu, once he is exiled from his tribe, is a man lost. He does not understand the customs. He trusts the wrong people -- particularly the members of a shady labor union. He does not trust the great white fathers who do nice things like save his pay for him. Even the local Catholic priest can't do a thing with him, and figures he is on a slide to Hell. So it's no surprise that our hero is on trial for his life, through no particular fault of his own. Everyone in this movie knows that Sabu would have been far better off if he could have just worked things out with his tribe...
Needless to say, the artistic viewpoint at work here produces one peculiar movie. Though everyone in the film is supposed to be Brazilian, some of the actors attempt an accent, and some simply go on screen with their BBC upper-crust or cockney accents intact. The catholic priest is made to mouth sentiments that are completely against Catholic doctrine. And Sabu, who lights up many a film with his aggressive cheerfulness, must play sullen and (even less typically) wear a shirt.
The result of all this is a movie that is, at times, fascinating, with a tragic determinism that suggests film noir and Fritz Lang, and at other times, annoying, suggesting condescending lectures from Prince Charles about the virtues of simple living. Give it a tumble, if you don't think you'll mind the occasional cinematic lecturing. The first half of the film is better than the second, when the script's essential condescension to its main character begins to really hurt Sabu's performance.
The Tories/Conservatives of Great Britain were great believers in knowing one's place in society, and staying there. This movie is as direct an advocate for that position as I have ever seen. Sabu, once he is exiled from his tribe, is a man lost. He does not understand the customs. He trusts the wrong people -- particularly the members of a shady labor union. He does not trust the great white fathers who do nice things like save his pay for him. Even the local Catholic priest can't do a thing with him, and figures he is on a slide to Hell. So it's no surprise that our hero is on trial for his life, through no particular fault of his own. Everyone in this movie knows that Sabu would have been far better off if he could have just worked things out with his tribe...
Needless to say, the artistic viewpoint at work here produces one peculiar movie. Though everyone in the film is supposed to be Brazilian, some of the actors attempt an accent, and some simply go on screen with their BBC upper-crust or cockney accents intact. The catholic priest is made to mouth sentiments that are completely against Catholic doctrine. And Sabu, who lights up many a film with his aggressive cheerfulness, must play sullen and (even less typically) wear a shirt.
The result of all this is a movie that is, at times, fascinating, with a tragic determinism that suggests film noir and Fritz Lang, and at other times, annoying, suggesting condescending lectures from Prince Charles about the virtues of simple living. Give it a tumble, if you don't think you'll mind the occasional cinematic lecturing. The first half of the film is better than the second, when the script's essential condescension to its main character begins to really hurt Sabu's performance.
Sabu grows up
JohnSeal7 October 2009
Warning: Spoilers
End of the River was close to the end of the road for Indian film star Sabu. Sabu Dastigar was a youngster discovered by British producer Alexander Korda, who turned the lad into box office gold via starring roles in such films as Drums, Thief of Bagdad, and Jungle Book. After a brief stint in Hollywood, an aging (well, 20-something) Sabu returned to Britain and found work in this Powell-Pressburger production. He portrays Manoel, a South American native taken into slavery by whites and then charged with the murder of a man during a dockside donnybrook. It's actually a very interesting film, beautifully lensed by Christopher Challis, but Sabu just wasn't up to serious drama, and by the 1950s he was relegated to low-budget European co-productions. Though shot on location in Brazil, End of the River's cast is resolutely British - look for James Hayter and Charles Hawtrey as two of the not-terribly-convincing locals!
A step down for Sabu
malcolmgsw16 January 2018
It seems rather strange now that Sabu,an Asian,was chosen to play a South American native.He is brought to civilization and supposedly learns how to dwell in a city.However throughout the film he is portrayed as a simpleton,which becomes very grating after a while.The story really doesn't work.The best part of the film is the excellent black and white photography
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