Romance century. Nineteenth, century movie. XXI – RTP

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“The Maya” by Eca de Queiroz, was the subject of a glowing cinematic recreation – João Botelho enacts the nuances of queirosiana prose to rediscover the tribulations . Portuguese identity

Maria Flor and Graciano Dias: the queirosiano world reenacted by João Botelho

Trailer / Poster / Synopsis:

The Mayans – Romantic Scenes from the Life Between Afonso da Maia and his grandson Charles, builds up the last strong bond of old family Maia. Graduated in medicine at the University of Coimbra and later educated on a long trip through Europe, Carlos da Maia returns to Lisbon in the autumn of 1875, to the great joy of his grandfather. In the fourteen months thereafter, is born, grows and dies the comedy and the tragedy of Carlos as tragedy and comedy …

 What we talk about when we talk about the “transposition” of a romance century. Nineteenth to the cinema? If we stay in the commonplace television, talked of making “similar” to the season and a wardrobe to “copy” what then wore scenarios … For some reason, the products made from this device are often leads to mere academic who has never had a point of view on what you shoot.
 
 

John Botelho is a filmmaker not subjected to the dictates of television conventions. Hence his film “The Maya” inspired by the novel by Eca de Queiroz, is an movie-movie . It is as if to say that a recreation confesses his deception (“opera”, as the director himself likes to say), working with scenarios that are not afraid to expose his magnificent fireworks (with screens painted by João Queiroz), finally, celebrating the glow – and humor – of queirosiana prose.

 
 

 Not, therefore, comes to “pretend” that century. XIX is within reach of any scenic copismo (sad idea …), but to proclaim that a movie for more than century. XXI, can be an object that measures the distance that separates the original writing, it echoes revealing that, after all, give it a actualíssima sensitivity.
 

 
 

“The Maya”, thus resulting in a cinematic year in which the social and political masks seem to reflect the inner wounds of a mode is Portuguese whose symbolic timeliness has not faded . In this perspective, we can say that this is a movie made from an ironic question. Namely: why is that the more we dive into the universe of Eça, we feel more exposed to a mirror of our present?

 
 

 The passionate drama of Carlos da Maia and Maria Eduarda, with the family disgrace dragging, is an excellent conversion emotional sobriety of their interpreters – Graciano Dias and Maria Flor, respectively – after confirming that the mise en scène Botelho is organized from a systematic challenge to human formatting that telenovelas imposed. The cast is indeed exemplary balanced – is a very special highlight to the mix of wisdom and surreal with Peter Agnes composes the iconic character of João da Ega exuberance.
 

     

Criticism of John Lopes updated at 19:32 – 11 September ’14

published 19:22 – September 11 ’14

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