In 2010, in an article for the PUBLIC in “defense of Portuguese cinema”, wrote that he considered the increasingly difficult conditions of this thing to make films in Portugal. I thought their colleagues.
“They, like me, have always lived in the precariousness and insecurity, no pension or unemployment benefits, and never know if we will be doing our last movie They, like me, have only one desire:. All aspire to die to do movies. ” Died this morning the director Manoel de Oliveira. Had 106 years. He died at home, knew the next PUBLIC next family source.
When 20 year old, he attended the film media, this was taking its first steps as a new form of artistic expression, even with the innovative power of the narrative of David W. Griffith, the German expressionism of a Wilhelm F. Murnau, or the Soviet realism Sergei M. Eisenstein one. In 1928, he enrolled in the Actors Film School founded in Porto by Italian director Rino Lupo, and makes a small figuration in his film Fátima Milagrosa . It was the hobby of a young dandy , which in those years was busy also practicing athletics and defy gravity on the trapeze Theater-Circus Carlos Alberto.
Inattention in Portugal
The following year, with his friend Manuel Mendes, bank employee and amateur photographer, started recording in a small chamber Kinamo the day-to-day workers on the banks of the River Douro, transposing to the scene of Porto Ribeira what turns the German Walter Ruttmann do with Berlin, Symphony of a Capital (1927). This experience resulted Douro, Faina Fluvial , mounted in a hurry at home the young filmmaker to be premiered by the hand of António Lopes Ribeiro in 1931, in Lisbon, in the V International Critics Congress program. The episode is known: the majority of national critical audience pateou the movie (Jose Regio was one of the rare exceptions), while foreigners, among whom was the French critic Émile Vuillermoz and the Italian playwright Luigi Pirandello, applaud … Started here duplicity that accompany virtually all the director’s career, from inattention or even contempt by the audiences in Portugal and the applause and the progressive reverence abroad, mainly in France and Italy.
After a presence known next to Vasco Santana, Antonio Silva and Beatriz Costa in The Song of Lisbon (1933), the Cottinelli Telmo film that ushered in the golden age of English comedy – “but I was never there great actor, “confided later – ventured in feature film with Aniki-Bóbó (1942). It is the adaptation of a short story of his friend Rodrigues de Freitas, Boys Millionaire , a fable about the infant universe (and the adult dimension he ever ends) again staged on the banks of the Douro. The reception to the film was again far, and Aniki-Bóbó was truly rediscovered only later with its passage on television and won honorable mention after a meeting for young film in Cannes in 1961 .
In the years following the Aniki-Bóbó and for about two decades, he found himself unable to achieve its successive film projects, between the The Douro Giants (1934), which, following the Douro, Faina Fluvial , proposed to go further, to the roots of the strenuous life of workers in the vineyards that the interior of the country, and Angelica (1952), which would only materialize over half a century later.
In between, made some short films for friends, manages the industrial company inherited from the father and dedicou- to the cultivation of vineyards in the Douro, in its fifth and his wife Maria Isabel oak, with whom house in 1940. “He was a very desired boy there at the mouth. And it was very well known, but also very human. I liked him immediately, the sensitive way he treated people, “testified his wife at the time of the 90th anniversary celebration of Oliveira
The marriage broke, curiously, another facet of the sporting career of Oliveira -. The pilot car, which had its highest point with the 3rd place finish at the wheel of a Ford Special B8 at the Circuit de Gavea in Rio de Janeiro (equivalent to the current Formula 1).
No comments:
Post a Comment