Adapted from a 19th-century novella by Eça de Queiroz, Manoel de Oliveira’s exquisite Eccentricities of a Blonde-Haired Girl is the story of an ill-fated romance between a young accountant and a mysterious woman he spies through his window.
Manoel Cândido Pinto de Oliveira, GCSE (Portuguese pronunciation: [mɐnuˈɛɫ doliˈvɐjɾɐ]; born December 11, 1908) is a Portuguese film director born in Cedofeita, Porto. He is currently the oldest active film director in the world.
Manoel de Oliveira was born in Porto, Portugal on December 11, 1908, to Francisco José de Oliveira and Cândida Ferreira Pinto. His family were wealthy industrialists.
Oliveira attended school in Galicia, Spain and his goal as a teenager was to become an actor. He enrolled in Italian film-maker Rino Lupo’s acting school at age 20, but later changed his mind when he saw Walther Ruttmann’s documentary Berlin: Symphony of a City. This prompted him to direct his first film, also a documentary, titled Douro, Faina Fluvial (1931).
He also has the distinction of having acted in the second Portuguese sound film, A Canção de Lisboa (1933).
His first feature film came much later, in 1942. Aniki-Bóbó, a portrait of Oporto’s street children… read more
I love the way Oliveira frames his shots, and his use of soft lighting and orange hues; it gives his work a very luminous quality. This is one of those movies that I wish I could crawl into, curl up and live inside of. It's also a movie full of contradictions. The setting is superficially modern day Lisbon, but we are clearly in old-world Europe. Luisa is glowing and seductive, but she is so beautiful that she almost looks like a doll, and it's unsettling. Plus she has no other characteristics aside from being a wall ornament. And why does Uncle Francisco forbid Macário to marry her? It all takes place at an angle slightly outside of reality. But in the end I fell in love with Luisa when she became more human, more flawed. Oliveira is a master.
That scene with the reading of the placidly serene Caeiro is a stunning masterpiece of complexly layered irony worthy of the great Eça de Queiroz himself! "Commerce shuns a sentimental accountant" and Romance shuns an imperfect idealist and therein lies the rub!
In theatre, I disliked signs of derision reserved to it from some viewers. The film is highly symbolic without dubts not instantly to grasp (today you see it, tomorrow read something about it!), but only who "watch without looking through" don't seem to appreciate a work admirable on fixed-ground/frame formal level and the speech on the gaze and appearance, very current, despite the camouflage of era.
Manoel de Oliveira’s new film, Gebo and the Shadow, is a work of ultimate compassion and benevolence.
It is one of the miracles of cinema that Manoel de Oliveira, who made his first film nearly 80 years ago, in 1931, is still working, and making
So here's a roundup that provides an opportunity to draw attention to two new issues of publications that, after all these decades, are
"LACMA's weekend series Fuller at Fox zeroes in on a blazing trail of six signature works for Darryl Zanuck's (now-75-year-old) studio —
"The Strange Case of Angelica, which met with enthusiastic applause after its first press screening on Thursday, is a gift from a filmmaker
Above: Pema Tsedan’s The Search. Now that the red carpets on Leicester Square have furled, the maddening din over square-jawed celebrities
"With a slender running time of 64 minutes," writes Acquarello, "Eccentricities of a Blond Hair Girl is a compact, richly textured illustration
Um burguês clássico na terra dos novos.
Crítica à burguesia actual e da nobreza de então. A burguesia em si mesma. A burguesia que ambiciona ser nobre, ainda que não o seja… read review
“A tribute to the family of Eca de Quiroz, the author of this story. Adapted and updated by Manoel de Oliveira. " The lines that open Eccentricities seem like a basic informatory piece of text at first… read review