When his father him for the first time took to the cinema, saw the eight-year-old Manoel de Oliveira a silent film. Even if the clay in 1917 are not yet in the cinema, after all, has the fascination of the Portuguese for moving images has not lost more.
Manoel Oliveira of the birth record, according to this Friday, according to Portuguese media, however, already on Thursday will be 100 years old, grew up in a wealthy industrialist family. The pictures from his youth to read himself as a film about the twenties: In the chic and tweed cap with white fliers behind the wheel of an open car; between Badenixe on the beaches of his native city of Oporto, or as an actor with a muscular upper body.
But in one of these evenings, as Manoel de Oliveira from his movie mature life into the world of moving pictures abtauchte, he saw the montage film "Berlin: Symphony of the city" by Walter Ruttmann. Oliveira decided to become a filmmaker. His first work, in 1931 shot, was called "Douro, Faina Fluvial," a documentary about the River Douro, because of its importance for the wine trade and life in northern Portugal has decisively shaped.
Productivity in the Age
It was a film with an open visor, Oliveiras fellow countrymen while lovingly presented, but also the social antagonisms of a line as bitterly poor agricultural country openly appealed. This kind of criticism just tasted the incumbent Salazar regime did not quite. The additional funding was critical film made difficult Oliveira, also brought his first feature film "Aniki-Bobo" to the commercial failure of 1941 so that it until the end of the dictatorship of the early seventies by the "Carnation Revolution" only three more films and a handful of documentaries could conclude.
In the meantime, Oliveira devoted to the Winzertum and placed in the vineyards of his family at the Douro River Port ago. With increasing age was prevented early filmmakers always productive. Since 1990, thus beginning his 82nd Birthday, turned the Portuguese each year a movie. This was possible only because Oliveiras films with relatively low budgets were produced.
His art was to: Oliveiras performances of the film are closely connected to the theater. With slow settings, long dialogues and a few slices familiar Oliveira especially on the power of words and images of the breast. The templates were mostly literary friends of Portuguese writers.
Among the most important works Oliveiras include the so-called "tetralogy of failed love", to which films like "O Passado eo Presente" ( "Past and Present") and "Amor en Perdição" ( "The fate of love") belong with which the Director in the eighties and nineties at festival favorite was the critics.
By restrained directing moved the skills of the actors in Oliveiras movies in the foreground, which is why it is not long before international world stars such as Catherine Deneuve ( "O Convento") and Marcello Mastroianni ( "Journey to the top of the World") to his door knocked.
But the emergence of film stars Paulo Branco noted that more than twenty Oliveira-produced films and on the side of the Altmeisters to Portugal's most important film producers ascended, before financially difficult to impossible task.
Sun had Branco in the eighties for the first time on a film trade fair fly to Milan to raise money for a desperately-overindebted Oliveira film. Fortunately, he met the Israeli producer Menahem Golan, which it on a paper napkin the Treaty on the international rights to the film outlined the production and so secured.
Especially in the circle of the author cinemas made Manoel de Oliveira is very popular. His films were always in the competitions of the major European film festivals. At the beginning of the year, he was in Cannes for his lifetime achievement award. Wim Wenders, with Oliveira is good friend, gave the Portuguese a very special tribute, by providing it with a guest appearance in his film "Lisbon Story" donated.
Celebrated by the critics, the audience verschmäht
By contrast, the ratio of Manoel de Oliveira to his home country is not always smooth. His films, usually only two or three cinemas in Lisbon run by the Portuguese criticism but praised, but the audience will find little attention. Many Portuguese may be the intellectual discourse of Altmeisters little. There is hardly an artist of such detail as Oliveira of Portugal and its cultural and religious roots has employed.
At least a year its 100th Birthday has Manoel de Oliveira in Portugal so far not reached attention. Two major exhibitions and retrospectives were in Oporto and Lisbon in the presence of political celebrities opened the second public television channel Oliveira had several films in a row to see and in Porto was even a locomotive in the name of his first feature film baptized.
Who honors and wanted to organize birthday parties, but soon had to be tuned. Because the director already announced in November that he had at his 100th Weighing just the festival would do what he always birthdays used to do: a film. Oliveira since his latest work "idiosyncrasies of a blonde girl" yet to finish the Berlinale, is the birthday of his favorite jobs very dedicated.
The film is for the 100-year-old but also a form of survival become. In a letter to a fellow journalist wrote Manoel de Oliveira in the past year: "Everything dissolves into nothing. My memory is available in the future, an insatiable lust, the difficulties to be bridged in order to shoot my movies."
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