Manoel de Oliveira
Manoel de Oliveira GCSE GCIH | |
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Born | Manoel Cândido Pinto de Oliveira 11 December 1908 |
Died | 2 April 2015 Porto, Portugal | (aged 106)
Occupations |
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Years active | 1927–2015 |
Notable work |
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Spouse |
Maria Carvalhais (m. 1940) |
Children | 4, including Palm d'Or (2008, honorary) |
Manoel Cândido Pinto de Oliveira
In 1971, Oliveira directed his second feature narrative film,
Among his numerous awards were the Career Golden Lion from the
Early life and education
Oliveira was born on 11 December 1908 in Porto, Portugal,[4] to Francisco José de Oliveira and Cândida Ferreira Pinto. His family were wealthy industrialists and agricultural landowners.[5] His father owned a dry-goods factory, produced the first electric light bulbs in Portugal and built an electric energy plant before he died in 1932.[6] Oliveira was educated at the Colégio Universal in Porto before attending a Jesuit boarding school in Galicia, Spain.[6]
As a teenager, his goal was to become an actor. At 17, he joined his brothers as an executive in his father's factories, where he remained for the majority of his adult life when not making films. In a 1981 Sight and Sound article, John Gillett describes Oliveira as having "spent most of his life in business ... making films only when circumstances allowed."[7]
From an early age, Oliveira was interested in the poverty of the lower classes, the arts and especially films. While he named
Career
1927–42: Early documentaries and first feature
Oliveira's first attempt at filmmaking was in 1927 when he and his friends worked on a film about
The discovery of Ruttman's film prompted Oliveira to direct his own first film in 1931, a documentary short titled
Fifteen years after his first attempt at filmmaking, Oliveira made his feature film debut in 1942. Aniki-Bóbó is a portrait of Porto's street children and based on a short story by Rodrigo de Freitas. Oliveira used non-professional actors to portray the children. The story centers around two young boys who compete for the attention of a young girl. One of the boys in an extroverted bully, while the other is shy and innocent.[12] The film was a commercial failure when it opened, and its merit only came to be recognized over time.[13] Oliveira stated that he was criticized for portraying children that lied, cheated and stole, which in his mind made them act more like adults.[14] The film's poor reception forced Oliveira to abandon other film projects he was involved in, after which he dedicated himself to work in a vineyard that his wife had inherited.[15] In the early 1950s, he and Régio submitted a screenplay to the Estado Novo-run Film Fund commission, but the commission refused to either accept or reject the film. Oliveira attributed this to his own well known dislike for the Salazar regime.[15]
1955–70: Return to filmmaking
In 1955, Oliveira traveled to Germany to study new techniques in color cinematography. He re-emerged onto the film scene in 1956 with The Artist and the City, a twenty-six-minute documentary short film shot in color. Much like his first film, The Artist and the City is a portrait of Porto, juxtaposing color shots of the city with paintings being created by local artist António Cruz. The film was shown in a number of festivals to positive reviews.[7] In 1959, Portugal's National Federation of Industrial Millers commissioned O Pão, a color documentary on Portugal's bread industry.
In 1963,
This was shortly followed by The Hunt (A caça), a grim, surrealistic short narrative film that contrasted with the positive tones of his previous film. Due to censorship issues, Oliveira was forced to add a "happy ending" to the initial release of the film and was unable to restore his original ending until 1988.[18] Because of this film and anti- Salazar comments Oliveira made after a screening of O Acto de Primavera, he was arrested by the PIDE in 1963. He spent ten days in jail and was interrogated until finally being released with the help of his friend Manuel Meneres.[19][20] His career again slowed down and he only completed two short documentaries in the next 9 years.
In 1967, the Cineclube do Porto sponsored a Week of Portuguese Cinema, where many filmmakers from the blossoming Cinema Novo movement screened films and discussed "the precarious situation of Portuguese cinema in the marketplace, and the decline of the film club movement."[21] This resulted in the Calouste Gulbenkian Foundation's creation of the Centro Portuges de Cinema, which would help to finance and distribute films in Portugal. The first film that the foundation chose to sponsor was Oliveira's next feature, and the early 1970s would come to be known as the Gulbenkian Years of Portuguese cinema.[22]
1970–89: Artistic breakthrough: Tetralogy of Frustrated Love and recognition
From the 1970s, Oliveira was at his most active, with the vast majority of his films having been made after he turned 75. Whether a late bloomer or a victim of unfortunate delays and political censorship, he became Portugal's preeminent filmmaker during the later part of his long life. Film critic
With a newfound artistic freedom after António de Oliveira Salazar's stroke in 1968 and the April 1974 Carnation Revolution, Oliveira's career began to flourish and receive international acclaim.[7] Ironically, the Carnation Revolution also resulted in his family's factories being occupied by factions of the Left and subsequently going bankrupt. Due to this, Oliveira lost most of his personal wealth and his home of thirty-five years.[23]
Oliveira's second return to filmmaking came in 1971 with
Benilde or the Virgin Mother (Benilde ou a Virgem Mãe) was based on a play by Oliveira's long-time friend and fellow Salazar regime dissident José Régio and released in 1975. This would be the first of many films that would examine the relationship between film and theater in Oliveira's work, and the film opens with roaming exterior shots of the Tobis Studios in Lisbon until reaching the constructed set of the film. In the film, Benilde is a sleepwalking eighteen-year-old who mysteriously becomes impregnated and believes herself to have been chosen for immaculate conception, despite the angry and dismissive reactions of her bourgeoisie family and friends.[25] Upon its release, the film was criticized for being irrelevant to the political climate of 1975 Portugal. However, Oliveira defended its depiction of a moralistic and social repression on its characters as not being "in opposition to or in contradiction with our own times."[23]
In 1981, Oliveira made
In addition to Francisca, Oliveira adapted six other novels or stories from author Agustina Bessa-Luís, as well as collaborated on the screenplay for the documentary Visita ou Memórias e Confissões. This was also the first film which Oliveira made with producer Paulo Branco, who would go on to produce the majority of Oliveira's film, and with actor Diogo Dória.
Following the success of Francisca, Oliveira made three documentary films. Visit or Memories and Confessions is an autobiographical documentary about Oliveira's family history. After completing the film, he decided that it will not be released until after his death.[28] He made Lisboa Cultural and Nice... À Propos de Jean Vigo , a documentary for French television on the city of Nice, and also a tribute to French filmmaker Jean Vigo.[7]
Oliveira then made his most ambitious film to that date,
In 1986, Oliveira made one of his most experimental films,
Oliveira next made a satirical film in the tradition of
1990–2014: Continued success as a filmmaker
Oliveira's work since the 1990s was the most prolific of his entire career and he made at least one film a year (usually feature narratives but sometimes shorts or documentaries) between 1990 and 2012. During this period he established and consistently worked with a loyal troupe of regular actors including his grandson Ricardo Trêpa, Luís Miguel Cintra, Leonor Baldaque, Leonor Silveira, Diogo Dória, John Malkovich, Catherine Deneuve and Michel Piccoli. He also worked with international stars such as Jeanne Moreau, Irene Papas, Bulle Ogier, Chiara Mastroianni and Marcello Mastroianni in the actor's last film.
In 1990, Oliveira directed
In 1992, Oliveira returned to the adaptation of works by Portuguese writer Camilo Castelo Branco with Day of Despair (O Dia do Desespero). The film stars Mário Barroso as Branco, with actors Teresa Madruga, Luís Miguel Cintra and Diogo Dória playing both themselves and Ana Plácido, Freitas Fortuna and Dr. Edmundo Magalhães, respectively. The film was shot in the house where Branco lived his final years and committed suicide and is both a documentary and a narrative film about the famous Portuguese writer.[36] In 1993 Oliveira made Abraham's Valley (Vale Abraão), based on the novel by Agustina Bessa-Luís. Oliveira had wanted to film Gustave Flaubert's Madame Bovary, but was dissuaded by producer Paulo Branco due to budgetary restraints. Oliveira then suggested to Bessa-Luís that she write an updated version of the novel set in Portugal, which resulted in the novel in 1991. Abraham's Valley is not a retelling of the Flaubert book, however Madame Bovary is both a subtext and a physical presence in the film.[37] The film stars Leonor Silveira as Ema, a discontent Portuguese woman who wants a passionate life like the one she reads about in Flaubert's novel. Like Madame Bovary, Ema marries a doctor that she does not love and has many extramarital affairs before dying in an accident that may or may not be a suicide. Unlike Madame Bovary, there is no scandal in her love affairs, which are simply accepted by both her husband and the society that she lives in.[38] The film won the Critics award at the 1993 São Paulo International Film Festival, as well as an award for Best Artistic Contribution Award at the 1993 Tokyo International Film Festival. In 1994, Oliveira made The Box (A Caixa), based on a play by Hélder Prista Monteiro. The film stars Luis Miguel Cintra as a blind homeless man whose only means of support in a poor neighborhood in Lisbon is his official, government issued alms box.[39] It was screened in competition at the 1994 Tokyo International Film Festival.
In 1995, Oliveira's reputation had grown and his films were internationally acclaimed. That year, he made his first of many films starring international movie stars:
In 1997, Oliveira made
Oliveira then made
Oliveira made
In 2004, Oliveira made
In 2006, Oliveira made Belle Toujours, a sequel to Luis Buñuel's 1967 film, Belle de Jour. The film stars Bulle Ogier as Séverine Serizy and Michel Piccoli reprising his original role of Henri Husson.[55] In the film, Séverine reluctantly agrees to see Henri for the first time in forty years out of curiosity to know if her former blackmailer told her dying husband about her secret life as a prostitute.[56] Ricardo Trêpa and Leonor Baldaque also appear in supporting roles.
Oliveira's 2007 film
Oliveira's last feature film,
In November 2013, he announced production of the short film The Old Man of Belem, pending government funding.[59] This was his last completed film and premiered at the 71st Venice International Film Festival and was released in Porto in November 2014.[60] Oliveira originally intended to shoot the film on a studio set, but because of his failing health it was shot in a garden close to his home in Porto. It was based on the novel The Penitent by Portuguese writer Teixeira de Pascoaes and starred Luís Miguel Cintra as Luís de Camões, Ricardo Trêpa as Don Quixote, Mário Barroso as Camilo Castelo Branco and Diogo Dória as Teixeira de Pascoaes. Some short clips from his previous films were edited into the short film, but he stated that it was neither an "overview" of his life's work nor a "farewell" to filmmaking. It was shot by cinematographer Renato Berta and edited by Valérie Loiseleux.[61]
Honors and decorations
In 1989 and in 2008, Oliveira was awarded doctorate degrees
In 2002, Portuguese architect Eduardo Souto de Moura completed "Cinema House" in Porto, which was designed to commemorate the work of Oliveira.[63][64]
In November 2012, Oliveira was honored with a week-long tribute and retrospective at the 16th Citéphilo in Lille, France.[65] In March 2013, Oliveira attended a screening of Aniki-Bóbó at the International Film Festival of Porto, which commemorated the 70th anniversary of the film.[66]
On December 10, 2014, Oliveira was appointed grand officier of the French
Personal life
Manoel de Oliveira married Maria Isabel Brandão de Meneses de Almeida Carvalhais (1 September 1918 - 11 September 2019) in Porto on December 4, 1940.[68] They remained married for nearly 75 years and had four children; their two sons are Manuel Casimiro Brandão Carvalhais de Oliveira (a painter born in 1941 known as Manuel Casimiro), Jose Manuel Brandão Carvalhais de Oliveira (born 1944), and their two daughters Maria Isabel Brandão Carvalhais de Oliveira (born 1947) and Adelaide Maria Brandão Carvalhais de Oliveira (born 1948). They have several grandchildren, including actor Ricardo Trêpa through his youngest daughter.[69]
In his younger days, Oliveira competed as a race car driver. During the
Manoel de Oliveira, at the age of 101, was chosen to give the welcoming speech at Pope Benedict XVI's meeting with representatives of the Portuguese cultural world on May 12, 2010, at the Belém Cultural Center. In the speech, titled "Religion and Art", he said that morality and art may well have derived from the religious attempt at "an explanation of the existence of human beings" with regard to their "concrete insertion in the Cosmos". The arts "have always been strictly linked to religions" and Christianity has been "prodigal in artistic expressions".[71] In an interview published the day before, Oliveira, who was raised a Catholic, said that, "doubts or not, the religious aspect of life has always accompanied me," and added, "All my films are religious."[72]
For several years before Oliveira's death, a feature film called A Igreja do Diabo (The Church of the Devil) was in development. In an interview conducted less than five months before his death, Oliveira revealed that he had plans for future films.[61]
Declining health and death
In July 2012, Oliveira spent a week in hospital to treat a respiratory infection and congestive heart failure.[73] Oliveira died in Porto on 2 April 2015, aged 106. He was survived by a wife, four children, and numerous grandchildren and great-grandchildren.[60][74]
Filmography
Features
- 1942 Aniki-Bóbó
- 1963 Rite of Spring
- 1972 Past and Present
- 1975 Benilde or the Virgin Mother
- 1978 Doomed Love
- 1981 Francisca
- 1985 The Satin Slipper
- 1986 My Case
- 1988 The Cannibals
- 1990 No, or the Vain Glory of Command
- 1991 The Divine Comedy
- 1992 Day of Despair
- 1993 Abraham's Valley
- 1994 The Box
- 1995 The Convent
- 1996 Party
- 1997 Voyage to the Beginning of the World
- 1998 Anxiety
- 1999 The Letter
- 2000 Word and Utopia
- 2001 I'm Going Home
- 2001 Porto of My Childhood
- 2002 The Uncertainty Principle
- 2003 A Talking Picture
- 2004 The Fifth Empire
- 2005 Magic Mirror
- 2006 Belle Toujours
- 2007 Christopher Columbus - The Enigma
- 2009 Eccentricities of a Blonde-Haired Girl
- 2010 The Strange Case of Angelica
- 2012 Gebo and the Shadow
Documentaries and shorts
- 1931 Douro, Faina Fluvial
- 1932 Hulha Branca
- 1932 Estátuas de Lisboa
- 1937 Os Últimos Temporais: Cheias do Tejo
- 1938 Miramar, Praia das Rosas
- 1938 Já se fabricam automóveis em Portugal
- 1941 Famalicão
- 1956 The Artist and the City
- 1958 O Coração
- 1959 O Pão
- 1963 The Hunt (short narrative)
- 1964 Villa Verdinho: Uma Aldeia Transmontana
- 1965 As Pinturas do meu Irmão Júlio
- 1982 Visit or Memories and Confessions
- 1983 Lisboa Cultural
- 1983 Nice... À Propos de Jean Vigo
- 1986 Simpósio Internacional de Escultura em Pedra
- 1988 A Propósito da Bandeira Nacional
- 2002 Momento (short)
- 2005 Do Visível ao Invisível (short)
- 2006 O Improvável não é Impossível (short)
- 2007 Rencontre Unique (short segment from To Each His Own Cinema)
- 2008 O Vitral e a Santa Morta (short)
- 2008 Romance de Vila do Conde (short)
- 2010 Painéis de São Vicente de Fora, Visão Poética
- 2011 Do Visível ao Invisível (short segment from Mundo Invisível)
- 2012 O Conquistador Conquistado (segment from Centro Histórico)
- 2014 O Velho do Restelo (The Old Man of Belem)
- 2015 Um Século de Energia (short documentary)
References
- ^ Lim, Dennis (March 9, 2008). "Centenarian Director's Very Long View". The New York Times.
- ^ "IMDB". IMDb. June 1, 2015.
- ^ Johnson, Randal. Manoel de Oliveira. University of Illinois Press. 2007. p. 1.
- ^ Chicago Tribune dated February 5, 1996, p. 3
- ^ "Manoel Oliveira Biography (1908-)". Retrieved April 5, 2015.
- ^ a b c Johnson. p. 5.
- ^ a b c d e f g h i j k Wakeman, John. World Film Directors, Volume 1. The H. W. Wilson Company. 1987. pp. 832–837.
- ISBN 1-879505-36-3, pp. 496–497
- ^ a b Johnson. p. 6.
- ^ Johnson. p. 8.
- ^ Johnson. p. 27.
- ^ Johnson. p. 10.
- ^ Manoel de Oliveira
- ^ Johnson. p. 9.
- ^ a b Johnson. p. 15.
- ^ Johnson. p. 16.
- ^ Johnson. p. 17.
- ^ Johnson. p. 20.
- ^ Johnson. p. 21.
- ^ "Manoel de Oliveira reviews the film that landed him in jail".
- ^ Johnson. p. 23.
- ^ Johnson. pp. 23–24.
- ^ a b Johnson. p. 33.
- ^ Johnson. p. 22.
- ^ Johnson. pp. 28–31.
- ^ Johnson. p. 34-35.
- ^ Johnson. pp. 34- 35.
- ^ "Manoel de Oliveira, Portuguese film-maker, dies at 106". BBC News. April 2, 2015. Retrieved November 10, 2022.
- ^ Johnson. pp. 47–51.
- ^ Johnson. p. 51.
- ^ Johnson. pp. 51–55.
- ^ Johnson. pp. 56–59.
- ^ "Os Canibais - Info". Operafest Lisboa 2023 (in European Portuguese). Retrieved June 13, 2023.
- ^ Johnson. pp. 63–66.
- ^ Johnson. p. 69.
- ^ Johnson. p. 72.
- ^ Johnson. p. 77.
- ^ Johnson. pp. 78–82.
- ^ Johnson. p. 84.
- ^ Johnson. pp. 87–88.
- ^ Johnson. pp. 91–93.
- ^ Johnson. pp. 95–96.
- ^ Johnson. pp. 102- 106.
- ^ Johnson. pp. 107- 108.
- ^ Johnson. p. 108.
- ^ Johnson. pp. 111- 112.
- ^ Johnson. pp. 114–115.
- ^ Johnson. pp. 119- 121.
- ^ Johnson. pp. 122- 124.
- ^ Johnson. p. 126.
- ^ Johnson. p. 131.
- ^ Johnson. pp. 132- 134.
- ^ Johnson. p. 1.
- ^ Johnson. pp. 135- 136.
- ^ Johnson. p. 136.
- ^ French, Philip (November 23, 2008). "Film review: Belle toujours". The Guardian. London.
- ^ "Festival de Cannes: The Strange Case of Angelica". festival-cannes.com. Retrieved January 11, 2011.
- ^ "Gebo and the Shadow (Gebo et l'Ombre): Venice Review". www.hollywoodreporter.com. September 5, 2012. Retrieved December 2, 2012.
- ^ Sérgio C. Andrade (November 7, 2013). "Manoel de Oliveira homenageado no Porto perto dos seus 105 anos". PÚBLICO. Retrieved April 5, 2015.
- ^ a b Hatton, Barry (April 2, 2015). "Manoel De Oliveira, Portugal Director, Dead at 106". ABC News. Retrieved April 2, 2015.
- ^ a b Dale, Martin (November 20, 2014). "Manoel de Oliveira : 'O Velho do Restelo,' a Reflection About Mankind (EXCLUSIVE)". Variety. Retrieved April 2, 2015.
- ^ Manoel de Oliveira na Universidade do Algarve
- ^ Cinema House. Ivarhagendoorn.com. Retrieved on May 22, 2014.
- ^ Cinema House in Porto, Portugal by Eduardo Souto de Moura. Morfae.com. Retrieved on May 22, 2014.
- ^ "Manoel de Oliveira homenageado na cidade francesa de Lille de 24 a 28 de Novembro". ionline.pt. Retrieved December 2, 2012.
- ^ "Manoel de Oliveira teve aplausos e flores no seu regresso aos palcos". www.publico.pt. March 6, 2013. Retrieved March 9, 2013.
- ^ "Manoel de Oliveira: Recipient of France's Légion D'Honneur – Portugal". Portuguese American Journal. December 11, 2014. Retrieved December 20, 2014.
- ^ Lim, Dennis (April 2, 2015). "Manoel de Oliveira, Pensive Filmmaker Who Made Up for Lost Time, Is Dead at 106". The New York Times. The New York Times. Retrieved April 3, 2015.
- ^ "Manoel De Oliveira: A Paixão Pelo Cinema" (in Portuguese). OJE - O Jornal Económico. April 2, 2015. Archived from the original on April 6, 2015. Retrieved April 3, 2015.
- ^ "MANOEL DE OLIVEIRA". Archived from the original on April 9, 2015. Retrieved April 5, 2015.
- ^ Religion and Art: Manoel de Oliveira
- ^ "Manoel de Oliveira já tem discurso para o Papa". Retrieved April 5, 2015.
- ^ "Manoel de Oliveira já deixou o hospital". www.jn.pt. July 20, 2012. Retrieved December 2, 2012.
- ^ "Morreu Manoel de Oliveira". Notícias ao minuto. April 2, 2015. Retrieved April 2, 2015.
Sources
- Manoel de Oliveira by Randal Johnson. University of Illinois Press. Contemporary Film Directors series. 2007.
Further reading
- (in Portuguese) O Cais do Olhar by José de Matos-Cruz, Cinemateca Portuguese, 1999
- Francesco Saverio Nisio, "Manoel de Oliveira. Cinema, parola, politica", Recco (Ge), Le Mani, 2010, ISBN 978-88-8012-544-0
External links
- Manoel de Oliveira at AllMovie
- Manoel de Oliveira at IMDb