I haven't seen all the late Oliveiras. I tend to agree with Ruy's posts,
and with Peter's about "I'm Going Home." One interesting question for
auteurism is that Oliveira has less of a signature style than most
auteurs. The early "Aniki-Bobo" is great in part for its editing. The
lush "The Satin Slipper" (perhaps still my favorite) and "Mad Love" are
almost Sirkian in their use of sets. "Valley of Abraham" has echoes of
Bresson, and "Oporto" of Ivens, perhaps. I'm choosing here among my very
favorite Oliveira films too; like Ruy, I don't think "No" is a great
one. There are things that these films have in common, but they're
fairly "abstract" and hard to identify.
Unfair it is then. Or maybe we have very different tastes towards Oliveira, even if we tend to agree on Bunuel greats (Nazarin, Illusion viaja en tranvia, etc....
I haven't seen all the late Oliveiras. I tend to agree with Ruy's posts, and with Peter's about "I'm Going Home." One interesting question for auteurism is...
... Oliveira, ... en ... his ... Cela ... Please do! But I'm supposed to turn in the Bunuel MS. pretty soon. ... and yes, ... shoes in the ... They're all I...
... According to the long interview with Biette in "La Lettre du Cinéma", all of the directors with whom Paulo Branco works are subject to his preferences,...
I didn't see Biette's Bluebeard, but it was published in 2 parts in Trafic. I didn't know that he had done a theatre production. I wonder if any of the De...
... Pretty much his prerogative, if he's fronting up with the money. Nor is he the only producer-of-auteurs to do so: Marim Kamitz (MK2), in spite of producing...
... Not to a Hollywood audience, certainly. In fact, after being blessed with Filmex and the Ken Wlaschin edition of AFI Fest, which always showed De O's...
... Speaking of "oversold," I notice that two of the three screenings of A Talking Picture at Tribeca Film Festival next week (I guess NYFF passed on this...
... here), by contrast, is an hour of cinema so stunningly sublime that it made me want to work backwards from there.... I would not hesitate to put A Talking...
... Daney wrote on NO, OR THE VAIN GLORY OF COMMAND. I have the article somewhere... And it's not Naremore who's writing on de Oliveira (he's editing the...
Well, let me disagree here with both Fred and Bill. I think Oliveira’s career is remarkable consistent and I do think it’s very easy to identify his films...
Thanks to Felipe and Bill for responses on de Oliveira. In writing that he has "less of a signature style than most auteurs," I didn't mean to suggest that I...
Hi Fred, Save and happy travels to you. I saw BLIND SHAFT today, the film about the murderous miners. I've you seen it or heard anything about it; reviews say...
Blind Shaft was shown here recently at the Detroit Institute of the Arts. It is a terrifying portrait of the lower depths of commerce in mainland China. It is...
... My comment was meant as a wry joke. Of course they had horrible working conditions; supposedly the workers were forcibly conscripted laborers. The same is...
Agreed...I was just trying to get in my comment about 'keeping men busy' being one of the motivators for many great projects, ala the HOOVER DAM and TVA in...
... I'm afraid I've never been able to appreciate any of his work. Seems to me he's interested in underlining the performative aspect of acting and ...
I did the same thing, but isn't "La Maison cinema et le monde 2" only a document of the years 1981 - 1985? If so, his coverage of Oliveira doesn't seem...
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