Tag Archives: Manoel de Oliveira

Manoel de Oliveira – Porto da Minha Infância AKA Porto of My Childhood (2001)

Quote:
This Proustian documentary, made when Oliveira was 93 years old, explores the great Portuguese film-maker’s relationship with his home town, Oporto, the place which inspired his first film Douro, Faina Fluvial way back in 1931. Using old photographs and newsreels with dramatic reconstructions, he offers a vivid portrait of a city caught between the old and the new. When he was a child, Oporto didn’t even have proper cinemas, film shows were improvised in sheds, Oliveira (born 1908) recalls. Most of the landmarks familiar from his youth have vanished. The brothels and cafés where he and his artist friends used to while away their days are long since closed. Even the house where he grew up is in ruins. The city I remember only remains alive in my sad memory, he sadly reflects. Poignant and playful, this is one of the old master’s most accessible late films. Read More »

Manoel de Oliveira – Amor de Perdição AKA Doomed Love (1979)

Quote:
Made by Manoel de Oliveira, the Portuguese cinema’s leading figure, Amor de Perição is undoubtedly one of the most original films made in the last decade, but its riches are difficult to capture in a few sentences. Based on a famous novel by Camilo Castelo Branco, it centers on several love affairs, notably between the offspring of antagonistic noble families, and shows how social and moral laws conspire to defeat the lovers. Read More »

Paulo Rocha – Cinéma, de notre temps: Oliveira l’architecte (1993)

as usual with that “cinema, de notre temps collection” Read More »

Anna Maria Tatò – Marcello Mastroianni: mi ricordo, sì, io mi ricordo AKA Marcello Mastroianni: I Remember [Full version + extras] (1997)

Synopsis:
In 1996, Marcello Mastroianni talks about life as an actor. It’s an anecdotal and philosophical memoir, moving from topic to topic, fully conscious of a man ^Óof a certain age^Ô looking back. He tells stories about Fellini and De Sica’s direction, of using irony in performances, of constantly working (an actor tries to find himself in characters). He’s diffident about prizes, celebrates Rome and Paris, salutes Naples and its people. He answers the question, why make bad films; recalls his father and grandfather, carpenters, his mother, deaf in her old age, and his brother, a film editor; he’s modest about his looks. In repose, time’s swift passage holds Mastroianni inward gaze. Read More »

Manoel de Oliveira – O Dia do Desespero AKA The Day of Despair (1992)

Quote:
In 1992 Oliveira made O Dia do Desespero, which deals with the last days and suicide of Romantic novelist Camilo Castelo Branco and is based largely on the writer’s letters. Most of it was filmed in the house where Castelo Branco in fact committed suicide. The film opens, midway through the credits, with a 50-second static shot of a pen-and-ink portrait of the writer. Other portraits, always shot with a static camera, punctuate the film’s narrative, lending it a documentary tone from the outset. Read More »

Manoel de Oliveira – A Caixa aka Blind Man’s Bluff (1994)

Quote:
One of Manoel de Oliveira’s masterpieces, A Caixa (The Box) / Blind Man’s Bluff is an adaptation, in parable form, of a play of the same name by Prista Monteiro.
The action takes place around a flight of steps in a poor neighbourhood and is about the final misadventure of an old Blind Man who has yet again been robbed of the official alms box with which he earns is living. His daughter, besides doing the house work, wears herself out taking in washing. Her companion, an unemployed lay-about like many of his friends, lives off the Blind Man’s box which has just been stolen for the second time. Read More »

Rita Azevedo Gomes – A 15ª Pedra AKA The 15th Stone (2007)

Quote:
Joáo Bénard da Costa, director of the Portuguese National Film Archives [deceased in 2009], interviews the dean of contemporaneous film directors [96-years-old then]. Two humanists of different philosophical backgrounds, both with their long, entire lives dedicated to culture in general (music, painting, literature) and to film in particular, discuss freely, sometimes haltingly, the director’s power as a creator or a magician, the philosophy beyond particular scenes in classic movies, film technique, the importance of color, sound and music to films, art versus entertainment, and much more. Their talk takes place in a museum room, seating in front of “The Annunciation” (a 1510 oil painting by João Vaz, a Portuguese artist), which eventually leads to a discussion of ‘Leonardo da Vinci’, and the relationship between a trend-setter master and his disciples. Read More »