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Topic: Manoel de Oliveira

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	IMPUNITY: Cases - Manoel Leal de Oliveira (Site not responding. Last check: 2007-10-29)
		In December 1997, Manoel Leal de Oliveira complained of irregularities committed by the mayor of Itabuna, Fernando Gomes, basing his allegations on documents from the local Audit Office concerning overbilling and the use of false invoices.
		De Oliveira’s newspaper also accused Police Inspector Gilson Prata of receiving a payoff from the mayor while investigating an alleged tax fraud.
		Oliveira was the editor A Região, which for months had been denouncing corruption and irregularities in the Itabuna city government and police department.
	www.impunidad.com /cases/manoelE.htm (1512 words)

	Against the Grain: On the Cinematic Vision of Manoel de Oliveira
		To fully understand Oliveira, therefore, it would be necessary to consider both his position in the Portuguese and European fields of cinematic production as well as his relations to the literary field, for they shape the very concept of cinema that Oliveira has developed throughout his career.
		Oliveira had come across the drama in the small town of Curalha when he was looking for locations for his 1959 documentary, O Pão (Bread), and he was so taken by it that he wanted to return and register it on film.
		In O Dia de Desespero and other films, Manoel de Oliveira questions the ontological status of such terms as “fiction” and documentary”; and challenges, through the pursuit of his own cinematic vision, some of the filmic and narrative conventions that have come to dominate mainstream commercial cinema.
	www.sensesofcinema.com /contents/03/28/de_oliveira.html (3855 words)

	Director
		Oliveira’s age is certainly the least interesting aspect of his current stand in the international film scene.
		Born in 1908, Manoel de Oliveira started his film career in 1931 with a silent-film documentary about the harsh life conditions of river-workers in his hometown Porto.
		Implemented by Antonio de Oliveira Salazar (the minister of finance who ascended to the post of prime minister in 1932, and became the civilian mainstay of Portugal’s military dictatorship) these drastic budget cuts and censorship laws were orchestrated in order to stabilize Portugal’s economy during the 1930s.
	www.kino.com /atalkingpicture/talk_director2.html (519 words)

	PSA - Activities (Site not responding. Last check: 2007-10-29)
		Oliveira says Rite of Spring changed his way of thinking about film: I realized that I was working with a 16th century text depicting an event about 2,000 years old to be shown today.
		With Maria Amelia Aranda, Jorge Rolla, Varela Silva and Gloria de Matos.
		In Cahier du Cinema Serge Daney writes that in Doomed Love Manoel de Oliveira pursues one of his favorite themes, the suspension of social laws and norms and their replacement by those that his heroes and heroines forge for themselves, and to which they are faithful unto death or madness.
	www.mit.edu /activities/portugal/movies_mo.html (796 words)

	About Manoel de Oliveira (Site not responding. Last check: 2007-10-29)
		Although Manoel de Oliveira is included among great auteurs by European film specialists and audiences, his work is familiar to only a limited number of American viewers, mostly scholars and critics involved with international art cinema.
		Stuart Klawans has written that Manoel de Oliveira is a "cinematic Olympus whose gods are barred (though unofficially) from American screens." Elsewhere, particularly in Europe, Oliveira has enjoyed considerable recognition in the past couple decades, a recognition which culminated last year with the Jury Prize for his feature "The Letter" at the Cannes Film Festival.
		This tribute aims to recognize the importance of Manoel de Oliveira in the context of film production worldwide, and will present a very unique opportunity for local audiences to view and discuss his films with renowned critics and scholars.
	web.mit.edu /portugal/www/mo.html (515 words)

	MTV.com - Movies - Manoel de Oliveira
		Despite the film's promise, Oliveira was unable to complete his several subsequent film projects due to a lack of official support, so he focused on running his various family businesses until 1955, when he traveled to Germany to explore new filmmaking technology and purchase a better camera.
		The film marked a turning point for Oliveira; instead of focusing on realism, it reflected his belief that cinema existed as a means of preserving the theater.
		Finding himself the butt of a national joke, Oliveira rallied back with what was arguably one of his finest films, Francisca (1981), in which he used the writer Branco as a main character.
	www.mtv.com /movies/person/104651/bio.jhtml (683 words)

	The Uncertainty Principle (O Princípio da Incerteza) (Site not responding. Last check: 2007-10-29)
		With such economy of means, Oliveira creates an immediate sense of mystery and that sense of mystery pervades the entire film; motivations seem ambiguous, relationships unpredictable, and meanings obscure, to be puzzled out from dialogue often more perplexing than revealing.
		Oliveira creates a well-realized sense of place; shots of the Portuguese countryside, the river, and towns seem to anchor the less tangible obscurities of the story.
		But while it is impossible to identify with them, Oliveira nonetheless sustains interest in them and their story; it's rather like an intellectual jigsaw puzzle that challenges the viewer to put the pieces together.
	www.culturevulture.net /Movies5/UncertaintyPrinciple.htm (660 words)

	Manoel De Oliveira (Site not responding. Last check: 2007-10-29)
		Le Soulier de Satin - (Screenplay / / Released /)
		Amora de Perdicao - (Director / / Released /)
		Amora de Perdicao - (Screenplay / / Released /)
	www.hollywood.com /celebs/detail/celeb/1116765 (722 words)

	Film Scouts Interviews (Site not responding. Last check: 2007-10-29)
		MANOEL DE OLIVEIRA: There may be some evidence that he could have been that, but the character played by John Malkovich is intent on discovering Shakespeare's secret, only to discover that his greatness lay in his humanity--whether he was English, Spanish, German or French!
		De Oliveira, he gave me only a part of the screenplay, but more important, he gave me photos of this place and convinced me of his vision.
		De Oliveira wants so much, but he doesn't want to tell you what your "motivation" is. He couldn't say very precisely what he wanted, but I was very protected in a way.
	www.filmscouts.com /scripts/interview.cfm?File=2758 (815 words)

	Voyage to the Beginning of the World
		As one external sign of his mortality, Manoel leans heavily on a cane when the group leaves the car to view one of the locales of his youth, but at the same time, Manoel is still lively and flirtatious, in a weary fashion as befits his age and declining health.
		Bracketing the sequences of Manoel's past are long sections of the road disappearing behind the car in a seemingly endless ribbon of time, suggesting that the voyage the quartet are embarked upon is one from which it will be difficult to return.
		Oliveira's initial vision of the world as a kind, forgiving entity is gradually transformed into a landscape of primitive violence, in which the dreams of youth are crushed by the burdens of history, poverty and hopelessness.
	www.sensesofcinema.com /contents/cteq/05/37/voyage_beginning_world.html (1142 words)

	Manoel de Oliveira
		In the end, it is this realization of the insurmountable disparity between reality and imitation that allows Ema to break free from the bounds of her superficial and vacuous existence - a sobered acknowledgement, not of an exhausted struggle for the elusive, but the gullible, accepted self-delusion of its facile, illusory attainment.
		It is a sense of profound, unrequited longing that similarly haunts Manoel as the group travels through personally relevant places and landmarks from his childhood that have been inalterably marked by time and have since lost their significance in the contemporary.
		In turn, the foreign born Afonso's journey is chronicled through static long and high angle shots that reinforce his sense of disconnected cultural and ancestral history, an estrangement that is initially (and amusingly) bemoaned by his skeptical aunt Maria Afonso (Isabel de Castro) when Afonso is unable to communicate in their family's native language.
	www.filmref.com /directors/dirpages/oliveira.html (586 words)

	The Cinematic Verses: A Talking Picture
		History’s physical ruins are not Oliveira’s focus, they are his support, his evidence, and as such he brings them to life with all the absent energy of an amateur slide show.
		Scripted action is delivered deadpan, by plain clothed characters captured in static portraits, and the dialogue is spoken in an unironic detached monotone, the kind adopted by tired parents mechanically reading to a child.
		This shift in perspective is understandable given the magnitude and vivid horror of 9/11, however, hindsight and history show neither the view on the 10th nor that on the 11th to be correct.
	www.thecinematicverses.com /reviews/atalkingpicture.html (559 words)

	Amazon.com: Talking Picture: DVD (Site not responding. Last check: 2007-10-29)
		Deftly, lovingly and confidently crafting a film of subtle rhythms, deep conviction and shocking contrasts, 96 year old Manoel de Oliveira "appears unstoppable" (Boston Globe) and conclusively demonstrates he is "a master of the medium" (The New York Times).
		Portuguese director Manoel de Oliveira at age 96 concocted this strange little film that suggests and artist/philosopher glance over his shoulder about all of civilization and the development of culture and language and then a rather ominous look toward the future.
		Oliveira's work or not (Personally, I'm split either way), I am thankful that there are attempts being made by Portuguese directors and actors to make these films and make them available in the U.S. without having to pay an arm and a leg just to purchase a DVD.
	www.amazon.com /exec/obidos/tg/detail/-/B0007LFPT8?v=glance (2704 words)

	Um Filme Falado (2003) (Site not responding. Last check: 2007-10-29)
		On the surface, Oliveira's 36th film is simple, but its greatness lies in the subtlety of its undercurrents.
		As we travel on a cruise ship to visit some of the most historic landmarks on the planet, bathe in the warmth of the Mediterranean sun, and meet some interesting people along the way, Oliveira brings into sharp focus the treacherous nature of the journey in which we are embarked.
		Set in July 2001, an attractive history professor from the University of Lisbon, Rosa Maria (Leonor Silveira), takes her seven-year-old daughter Maria Joana (Filipa de Almeida) on a cruise of the Mediterranean from Portugal to Bombay, India where she is planning to meet her husband, an airline pilot.
	www.imdb.com /title/tt0364093 (878 words)

	European film review ¦ Espelho mágico (Magic mirror) (2005) (Site not responding. Last check: 2007-10-29)
		de Oliveira’s latest film is a meditation on religion, death and what lies beyond.
		The films of de Oliveira can be considered an ‘acquired taste’, as his long
		De Oliveira, who will be 97 years old in December, is clearly concerned with
	www.europeanfilms.net /reviews/2005/espelhomagico.html (425 words)

	Manoel de Oliveira (Site not responding. Last check: 2007-10-29)
		Nos Embalos de Ipanema (1978) (as Manoel Oliveira)
		'Non', ou A Vã Glória de Mandar (1990) (uncredited)....
		Find where Manoel de Oliveira is credited alongside another name
	us.imdb.com /Name?de+Oliveira,+Manoel (748 words)

	The Films of Manoel de Oliveira (Site not responding. Last check: 2007-10-29)
		Manoel de Oliveira is a Portuguese film director.
		It is where Manoel de Oliveira grew up and lived in his young adulthood.
		Here, the play is more joyous, and Oliveira himself plays the role of the Thief in the stage comedy.
	members.aol.com /mg4273/oliveira.htm (466 words)

	IMPUNITY: Cases (follow up)- Manoel Leal de Oliveira (Site not responding. Last check: 2007-10-29)
		New statements could be helpful in the investigations into the death of Manoel Leal Oliveira, murdered on January 14, 1998.
		On June 7 this year, former police officer Pedro Roberto Santos Figueiredo told the Itabuna, Bahia, state attorney’s office that he had seen another police officer, Mozart Brazil, near Leal’s home on the day of the crime.
		His only arrest was for his alleged involvement in the Popó case — the charges against him then being dropped on July 10 this year.
	www.impunidad.com /cases/manoel_6E.htm (651 words)

	DVD Pacific
		Effortlessly gliding from graceful travelogue to playful star-driven caprice to trenchant cautionary fable,A Talking Picture is "a majestic and profound work by one f the great of all living filmmakers" (Chicago Tribune).
		Writer-Director Manoel de Oliveira (I'm Going Home, Voyage To the Beginning Of The World) has created a valedictory cinematic masterpiece that balances timeless beauty with audacious theatricality in order to explore the fanciful myths and grim ironies that define Western Civilization at a millennial crossroads.
		Deftly, lovingly and confidently creating a film of subtle rhythms, deep conviction and shocking contrasts, 96 year old Manoel de Oliverira "appears unstoppable" (Boston Globe) and conclusively demonstrates he is "a master of the medium" (The New York Times.
	www.dvdpacific.com /item.asp?ID=645764 (225 words)

	Combustible Celluloid film review - A Talking Picture (2004), Manoel de Oliveira, Catherine Deneuve, John Malkovich, ...
		Portuguese-born Manoel de Oliveira, 96 at this writing, has been turning out nearly a film a year since the early 1980s.
		It begins as a beautiful history professor, Rosa Maria (Leonor Silveira), and her 7 year-old daughter, Joanna (Filipa de Almeida), embark on a cruise around the Mediterranean, taking in all the historical sights (the Acropolis, the pyramids, etc.).
		The extras includes a list of Manoel de Oliveira's credits, which will go a long way in helping to explain his greatness, a photo gallery and a particularly awful trailer which probably didn't help the film's lackluster box office.
	www.combustiblecelluloid.com /2005/talkpict.shtml (777 words)

	[Videolib] Two Films by Manoel de Oliveira (Site not responding. Last check: 2007-10-29)
		There is only 1 entry for Dia do Desespero and none for Acto de Primavera in WorldCat.
		We have bought O Dia do Desespero (1992) some years ago directly from Atalanta Filmes in Portugal (VHS/PAL in portuguese without any subtitles as is the entry in WorldCat).
		http://www.atalantafilmes.pt/ Concerning Acto de Primavera I didn't find any evidence for a publication on video ever.
	www.lib.berkeley.edu /pipermail/videolib/2003-September/001406.html (205 words)

	AMCTV.com SHOW - The Convent
		In this enigmatic psychological drama, an American professor (John Malkovich) and his French wife (Catherine Deneuve) travel to a remote Portuguese convent in search of documents to prove his theory that Shakespeare was actually a Spanish Jew by birth.
		In the hands of the respected 87-year-old director Manoel de Oliveira--whose career began in the silent film era--the movie becomes a disquieting allegory of temptation and evil.
		As Malkovich's character neglects his wife in favor of the young research assistant he is provided (Leonor Silveira), his wife takes up with the convent's guardian (Luis Miguel Cintra), and questions of immortality and desire begin to trouble their already strained marriage.
	www.amctv.com /show/detail?CID=55613-1-MST (133 words)

	www.european-films.net ¦ Um filme falado - A talking picture (2003) ¦ film review (Site not responding. Last check: 2007-10-29)
		The film, helmed by Portuguese veteran director Manoel de
		Oliveira is full of people talking and on the technical side the camera never moves
		Joana (Filipa de Almeida) on a lecturing cruise of the Mediterranean.
	www.europeanfilms.net /reviews/2003/filmefalado.html (711 words)

	671-672 \| I'm Going Home \| movies : ENTERTAINMENT WEEKLY (Site not responding. Last check: 2007-10-29)
		The 82-year-old Eric Rohmer's talkfests flow as entrancingly today as they did in 1969, and now Manoel de Oliveira, the forbidding Portuguese avant-gardist, has had his art-house breakthrough...at 93.
		I'm Going Home ambles along with the indulgent, shuffleboard pace of an ''old man's movie,'' yet de Oliveira, shooting in long, lingering takes, proves the most playful of sages.
		He follows the fortunes of an elderly French actor, played by the great Michel Piccoli (himself an aging lion), who is forced to cope with the sudden death of...
	ew.com /ew/article/review/movie/0,6115,348008~1~0~imgoinghome,00.html (282 words)

	[Videolib] Two Films by Manoel de Oliveira (Site not responding. Last check: 2007-10-29)
		Next message: [Videolib] Two Films by Manoel de Oliveira
		This is a multi-part message in MIME format.
		---------------------- multipart/alternative attachment Hello all: =20 I am looking for the following films by the Portuguese director, Manoel = de Oliveira in any format: =20 Day of Despair (aka, Dia do Desespero, O (1992)) Passion of Jesus (aka Acto de Primavera, Rite of Spring (1963)) =20 Any / all assistance is appreciated.
	www.lib.berkeley.edu /pipermail/videolib/2003-September/001395.html (155 words)

	Amazon.com: I'm Going Home (2001): DVD (Site not responding. Last check: 2007-10-29)
		Hailed by critics as one of the finest films of the decade, this funny, humane and heartbreaking statement is the masterpiece of internationally acclaimed director Manoel de Oliveira.
		Successful theater actor Gilbert Valence (Contempt's Michel Piccoli) learns his wife, daughter and son-in-law have been killed in a car accident.
		The Portuguese director, Manuel de Oliveira, is obviously a very good observer of everyday human traits, Aren't we all?
	www.amazon.com /exec/obidos/tg/detail/-/B0000A0DX2?v=glance (1053 words)

	I'm Going Home (2002): Michel Piccoli, Catherine Deneuve, John Malkovich, Manoel De Oliveira
		"Oliveira trusts the intelligence of his audience...In the life of the city he suggests the ongoing life of humanity, the context in which individual mortality must be contemplated."
		"Oliveira seems to pursue silent film representation with every mournful composition."
		"A minor film with major pleasures from Portuguese master Manoel de Oliviera..."
	ofcs.rottentomatoes.com /movie-1115938/reviews.php (196 words)

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