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The older he got, the more certain was the participation of his films at the festival. The tips of the Olympic style-theory-rich film criticism awesome thought about the women and the men in the latest work by using the melancholy of unfulfilled longings and the importance of expanded time in his aesthetics. Oliveira haunted as “Monsire sacre” of world cinema through the feature pages.
His subjects were considered Lusitanian-French amalgam and often swung decent mourning for the exclusive spirit of auteur cinema in the assessments with.
Manoel de Oliveira’s creative power, his renown and the support that his network grew paradoxical after his eightieth birthday.
Find In an age when the other no longer a funder, the sheer aura inspired him ageless activity at shorter and shorter intervals between the projects. Important ally Oliveira was the controversial producer Paulo branes, powerful key figure and virtuoso Scouts in co-production and promotion jungle
A life behind the camera -. To the last
In the nineties every year arose a film, including “The Divine Comedy”, 1991 and “On the banks of the river” In 1993, a timeless Bovary history. “Voyage to the Beginning of the World” in 1996 was the last film starring Marcello Mastroianni, a melancholy “road movie” in which traces the alter ego Oliveira looking for locations of his upper-class childhood, but also the struggle for existence poor mountain farmers in northern Portugal. Even in the last years of his life, Oliveira take no rest. Still in August 2014 his short film “O Velho do Restelo” (“The Old Man of Belém”) is shown in Venice. Although Oliveira itself does not appear to Premiere – too burdensome is the trip for the 105-year-old – his films go around the world.
Oliveira is a classic – and still alive. But unlike Picasso, he had to be stated in spite of his fame spread the dwindling of his works. He took her left and was pleased with the film archives in which his and other auteur films will probably only be shown in the future.
The film is completed only by the qualified audience
Jean Luc Godard, therefore behave desperately, was united with twenty-two years older than that understood it the cinema as a criticism of the reality and went with the necessary standards of language and style to work. Both wanted critical viewers who ideally only completed their films. But where these skilled spectators lost in the face of the audience, which has always prefers action, show that pure attraction?
Oliveira felt about the persecution of the artist by the commercialism not affected. He represented a small country that had never developed a film industry and totalitarian during the Salazar regime inside, was outwardly to its overseas colonies, not to Europe oriented. He made films for himself and a few like minded people, for the quiet literate and myths critical opposition of the aesthetes. This was not a little under the strict censorship.
A self-taught artist who taught themselves and others filming the
His poetic concept of critique suggested that he mainly directed documentaries in the old Portugal, but often insert breaks several years had the longest 1963-1971. ‘/ p>
Born in 1908, he began in 1931 with “Hard work along the Douro River,” a film about his home city of Porto. He came as a great citizen son around Europe, felt inspired by Walter Ruttmann and Joris Ivens and brought the film craft in itself. In Porto, he held forty years distance from Lisbon regime, continued the family business and took care of his passion for the theater.
Only at the end of the Agony in the country began his ascent to master subtle melodramas. The revolution in 1974, opened the way for him, with his often staged in a historical setting movies as Senior Ambassador of Portugal to deepen contacts with other French cinema and theater. From then on, the masterpieces, including “Benilde, Virgin and Mother” emerged. 1974, “The fate of love”, 1978, “Francisca”, 1981, the six-hour film adaptation of Paul Claudel’s World Theatre “The Satin Slipper”, 1985, and the sung melodrama “The Cannibal”, 1988, a passionate, misplaced in the history counterpart Peter Greenaway’s cold “The Cook, the Thief, the Wife and Her Lover.”
“Between the boredom of the world and the intense desire to live in it”
Oliveira late development was accompanied by an elegant asynchrony, a chivalrous Remythisierung the woman behind the tumble stone surface (marital) relationships when a woman incorruptible maintains its love when the phantasmagoric strength of their feeling takes the place of sexuality that were infinite sung puzzles, in which the men approached the tragic part Lächerlicherkeit or cynical ignorance. Lowered to the ground glances, restrained speech in literary text austerity, never-ending tracking shots, ecstatic symphonic music Oliveira celebrated the explosion of feelings with patience and rigor. Cinema was his enlightened spiritual exercise, “Saudade” is the key to his philosophy: “. Something between the boredom of the world and the intense desire to live in it”
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