“ Memoirs and Confessions Tour or was a film made with a lot of anguish.” The statement was made by Manuel Casimiro, painter and the eldest son of Manoel de Oliveira (1908-2015), that keeps in mind the grief and the sorrow of the father in the beginning of the 1980s, when he was in the contingency separate the house she had dreamed and built, and where he had lived four decades with his family.
The story is known, since the very Manoel de Oliveira referred to it several times in interviews and biographical memories. The director managed the trimmings factory inherited from the father and, at one point, to safeguard the company found itself in need of mortgaging the house for a bank loan. “Came the revolution of 25 April [1974] and, a year later, some of the staff induced the whole of the working class, about 50 people, occupy the factory, where it is not already removed the smallest profit since not even have finished remodeling, “wrote Manoel de Oliveira in the autobiography, still unpublished, who wrote in response to a challenge of journalist José Carlos Vasconcelos, director of JL (which transcribes excerpts of the text in the latest issue April).
“They did barbarities,” Oliveira continues, referring to the sale of raw materials and machines, ending the factory to have even close. And in the early 1980s, the director I’m Going Home found himself in the contingency to sell your house to pay the bank.
“My father did not to court, and he made sure to pay off. But it was very sad because he felt betrayed, “says Manuel Casimiro.
Sold the house of Vilarinha Street, which had been designed in 1939 by modernist architect Jose Porto (1883-1965), Oliveira moved on if, with the family to an apartment in Foz. But wanted to leave recorded on film their relationship with this house and some personal and biographical notes. “ visit is born of a condition of chance. I realized I had to preserve that memory and pass it to the movies … There are other more profound reasons. But the subconscious can not speak! “Said the director (quoted in the monograph dedicated to him by Mostra Film Sao Paulo in 2005). For the film, called a text to its Agustina Bessa-Luís friend – with whom, shortly before, had begun a fruitful and lasting artistic collaboration with Francisca (1981)
. With a grant awarded by the then Minister of Culture Francisco Lucas Pires, and working with reduced staff, Oliveira prepared and rolled visit or Memoirs and Confessions in the winter of 1981-82, but with the stated purpose of the film would be released only after his death. “I believe my decided not to show the film before more for decency,” says Manuel Casimiro.
This team took part in the script supervisor Julia Buisel and the actor Diogo Doria (which, with Teresa Madruga, recorded voice off ), which had also begun to work with the director in Francisca , which would then accompany him to the end.
Diogo Doria It has a very vague memory of that experience, which lived only in the recording studio. “It’s been a long time,” he says, adding that the film “a parade of very personal memories” of the director, “will not bring any surprise to those who know his work.”
Since Julia Buisel integrated restricted group that participated in the shooting. “It was a very hidden, very private thing, made with a very reduced team,” the script girl, who keeps in its memory also affective, the experience of having interviewed Oliveira woman for the film. “I remember the affection Dona Maria Isabel had the garden, her great joy to be returning to pruning and watering your dahlias – was actually a beautiful garden,” says Julia Buisel, which still keeps the typescript the film -. which had the initial title Memoirs and Confessions (or reflections)
The house of Vilarinha Street, beyond the José Port name, has the signature of two other figures of Portuguese modernism: Lima Viana, which dealt with the interior decoration, and Cassiano Branco, who designed the outdoor spaces. The new owner added her contribution of other architects, as Gonçalo Ribeiro Telles, in the gardens, Eduardo Souto de Moura, who designed a tennis court and pool, and then Alexandre Burmester and Maria de Fátima Burmester, who in the late 1980s addressed the housing recovery, which earned them an honorable mention from the Municipal Prize João de Almada (1990).
In December 2013, the house was classified as a cultural heritage building.
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