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Posts Tagged ‘Manoel de Oliveira’

Frame by Frame Videos on Film History, Theory, and Criticism

Tuesday, June 24th, 2014

Here’s a carousel of more than sixty videos in my Frame by Frame series; click here, or above, to play!

Frame by Frame is a series of short videos I made with Curt Bright on film theory, history, and criticism — each is about 3 minutes long or so. Episodes of Frame by Frame cover The Hollywood Blacklist, Ridley Scott, Commercials in Movie Theaters, Inception, 3-D, Film Critics, War Movies, Film Composers, Buster Keaton, Charlie Chaplin, Subtitles vs. Dubbing, The Aura, John Ford, Remakes, Special Effects, John Huston, Ridley Scott, Fritz Lang, Howard Hawks, Alice Guy Blaché, Oscar Micheaux, Horror Movies, Deep Focus, Pan and Scan, Jean-Luc Godard, Camera Movement, Metropolis, Psycho, Movie Trailers, Laurel and Hardy, The Three Stooges, Minorities in American Film, The King’s Speech, Alfred Hitchcock, The Great Gatsby in 3-D, Digital Cinema, Special Effects, John Huston, Manoel de Oliveira, Orson Welles, Martin Scorsese, Westerns, Nicholas Ray, Busby Berkeley, Claire Denis, Woody Allen, Film Archives, George Cukor, Roger Corman, Billy Wilder, trailers, the Hollywood Ratings System, and many other topics.

Check it out! Useful for your classes; feel free to download as you see fit; use as you wish.

Happy 104th Birthday, Manoel de Oliveira!

Sunday, January 13th, 2013

Manoel de Oliveira directs Claudia Cardinale in his new film Gebo and the Shadow (2012).

I simply can’t get around it; Manoel de Oliveira is my favorite director working right now, period, and at the age of 104 — it’s just astounding — he has released a few film, Gebo and the Shadow (2012). His birthday was actually December 11th, but he’s been making films since 1927, and directing since 1931 — also simply astounding — which means he has been directing films for 82 years. There’s no one else who can even approach that record, and the most amazing thing is that Oliveira is still vital, active, writing and directing films that are among the best he’s ever done, really only hitting his stride in his late 80s. In this latest film, working with such topflight talent as Claudia Cardinale, Jeanne Moreau, Michael Lonsdale and Ricardo Trepa, Oliveira spins the tale of Gebo, a man living in a house in reduced circumstances with his mother and daughter in law, whose son Joao has long since vanished for parts unknown. Suddenly, one night, Joao returns. Is it for good, or for ill?

As Boyd van Hoeij of Variety notes of the film, which screened at the Venice Film Festival on September 5, 2012, “the dean of helmers, [the then] 103-year-old Portuguese maestro Manoel de Oliveira, adds another striking entry to his ever-lengthening filmography with Gebo and the Shadow. The French-language adaptation of a Raul Brandao play, about a poor Lusitanian family awaiting the return of its vagabond offspring, offers a variation on the parable of the prodigal son. In a late-career standout, Claudia Cardinale limns the role of the impressionable mother, who’s been kept in the dark about her son’s nothing-to-write-home-about ways.”

Oliveira’s long career has long been a source on wonderment and inspiration for me; even now, at the age of 104, he is currently working on pre-production for his sixtieth film, The Church of the Devil. His 2010 film The Strange Case of Angelica marked the first time Oliveira used digital special effects work, but he handled it with his typical restraint and mastery. It’s a shame that his work doesn’t get the distribution in the US that it so clearly deserves, since 1997 in particular, he’s racked up a stack of absolute masterpieces, including Voyage to the Beginning of the World, I’m Going Home, A Talking Picture, Magic Mirror, Eccentricities of a Blonde-haired Girl and many others.

Click here, or on the image above, to see the trailer for Gebo and The Shadow.

The Strange Case of Angelica by Manoel de Oliveira

Friday, January 27th, 2012

Click here, or on the image above, to see the trailer for this magical film.

At 103, when most of us are either retired or departed, Manoel de Oliveira is stronger than ever as a filmmaker. He made this gorgeous film, The Strange Case of Angelica, in 2010, at the age of 101. Here’s the trailer; this is a gorgeous, deeply felt film, with more than a touch of Oliveira’s usual humor.

A young photographer, Isaac (Ricardo Trêpa) is summoned to the home of a rich landowner, to photograph his daughter, Angelica (Pilar López de Ayala) who has just died, shortly after being married, and is lying in state with a serene smile on her face. To Isaac’s shock, when he looks through the viewfinder of his camera, Angelica seems to return to life, and smile at him warmly, though no one else in the room sees this. When he returns to his small room in a boarding house where he lives, Isaac develops the photos, and once again sees Angelica seemingly beckoning to him from the beyond.

What happens next is a sublime mystery, which I won’t reveal here, other than to echo the words of Jim Hoberman, Manohla Dargis, and numerous other critics; the film is a masterpiece, one of the most deeply felt films of recent memory, and a splendid antidote to the junk being churned out by the major studios.

The DVD of The Strange Case of Angelica also contains Manoel de Oliveira’s first film, Douro, Faina Fluvial (Labor on the Douro River, 1931); a documentary on Oliveira’s work by by Paulo Rocha; and an interview with Oliveira shot during the production of the film, entitled Absoluto, in which Oliveira contemplates the moral bankruptcy of modern cinema, rattles off a list of his favorite directors (including Godard, Bresson, Kiarostami, Welles, Ford, and numerous others), and deplores the “brain washing” that is currently taking place with the “forced consensus” of mass media.

All in all, The Strange Case of Angelica is a gorgeous film, which you absolutely should not miss if you have any love for the cinema at all; available in DVD or Blu-ray; take your pick. Oliveira has the distinction of being the oldest continually active filmmaker in the history of the cinema; he is also, thankfully, one of the greatest, whose work, amazingly, only improves with age. The Strange Case of Angelica is a romantic, thoughtful, absolutely transcendent work — please see it without delay.

The charm of The Strange Case of Angelica lies in the way it balances this mysticism with a thoroughly secular sense of the business of everyday life. Not that any of the nonsupernatural occurrences that surround Isaac — the Greek-chorus chitchat among his landlady and her friends; the steady work in the fields and olive groves; the rise and fall of empires and economies — are exactly banal. The world as seen through Mr. Oliveira’s lens is as fresh as if it had just been discovered and as thick with secrets as if it had always existed.

Of course, both things are more or less true, and Oliveira’s film has the added virtue of feeling entirely original even as it evokes a number of rich literary and cinematic traditions. As a ghost story, it owes more to Henry James’ psychological curiosity than to Edgar Allan Poe’s sensationalism, but it is also indebted to the various kinds of realism that flourished, in film and in novels, in the early and middle decades of the last century. Finally, though, it exhausts comparison, even to other films by this director, who has both done everything and is just getting started.” – A.O. Scott, The New York Times 12/28/2010

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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