Manoel de oliveira biography of martinho

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• JCM:

  A moderna crítica de cinema (Cahiers du Cinéma) viu muito justamente a apropriação que o cinema moderno tem feito de formas teatrais como uma tentativa de escapar a uma representação naturalista em que a reprodução do real condena fatalmente o cinema ao tipo de representação que mais favorece a ideologia dominante. A essa reabilitação do teatro (e não só) correspondeu o declínio (e o veto prematuro) de um cinema articulado sobre o exercício da mise en scène. Que um senhor chamado Manuel de Oliveira apareça assim, sem mais nem menos, com um filme que senão esgota, vem, pelo menos, ao encontro de muitas das pesquisas teóricas e práticas do cinema modern

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film

Past and Present (Portuguese: O Passado e o Presente) is a Portuguese film directed by Manoel de Oliveira. The film is considered part of the director's Tetralogy of Frustrated Love, with Benilde, Doomed Love and Francisca.

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Rua da Vilarinha (Vilarinha Street), in Porto, is a melancholy and dreamlike cobbled street in the prosperous part of the city. It stretches from Boavista to Circunvalação (next to the industrial area), being deeply affected by its surroundings, although it rests placidly on the immutability of its characteristics. I first got to know Rua da Vilarinha as a symbolic reality, which linked the archive documents of the movie director Manoel de Oliveira to the street he lived in. Because of it, I cannot help feeling that it embodies an immense cinematographic plan-sequence, disconnected from time and space and inseparable from the filmmaker&#;s experiences.

A few metres away from Vilarinha, the Avenida da Boavista trembles, so that the street is the result of the social, economic and cultural context that surrounds it. Nearby is the elitist CLIP (Colégio Luso-Internacional do Porto), the renowned Colégio do Rosário. It is obvious that the houses on the street are inhabited by Porto&#;s upper class. This is visible, when you walk along it from South to North. When you arrive to the Circunvalação, the reality is different. Contemporary-style housing is on the rise, side by side with shacks, neighbourhood grocer&#;s shops and car pollution, which is a constant on the Circunvalação. All this is seen as a palpable circumstance, which does not shake the life of the city (its stratification and the uninterrupted flow that forms it), but rather confirms it. What is felt is something other than the factual. It is the sea breeze whose almost imperceptible smell falls on me in the form of fog on the body. And a kind of fixation beyond the chronological rhythm, which makes Vilarinha an anachronism. At a certain pace, a tavern without a sign, dark as a cave, with bags and mugs of wine, with the spice of lunch already going out the door. Here and there a fountain, a flowery door, a silence. And the house: hidden in the trees, prot