CANNES
2002
MANOEL
DE OLIVEIRA AND MARCO BELLOCCHIO PURSUIT REASONING WITH
TWO GREAT FILMS
"O
Princípio da Incerteza" is the new film by the Portuguese
master Manoel de Oliveira, 93, to whom Cannes always offers
the privilege of revealing. Thanks to his producer Paulo
Branco, Oliveira has managed to conclude at least one film
a year since 1985. His films are precious gems that scrutinize
the reason of existence and the mysteries of the soul. As
always, international press treats every new work of his
with reverence and praises him as the most respectable senior
filmmaker still in activity.
One
needs discipline to follow the Portuguese genius. Different
from his last movie, "I'm going home", an excellent comedy
that last year turned out to be the most popular work in
Oliveira's career, "O Princípio da Incerteza" goes back
to the literary narration in collaboration with the writer
Agustina Bessa-Luis. Fine literature makes the viewers go
over the fundamentals of ambition, of desire, of luck and
mishaps of lives that interweave in a somehow senseless
way, but with atrocious reflexes.
Oliveira
builds a bold work and goes on fearlessly in his lucidity
of a filmmaker-thinker. The dialogues in this new film are
to be appreciated with dedication.
I
meet Oliveira at the dinner in his homage at Hotel Martinez,
in Cannes. I ask him why he doesn't associate to another
Portuguese language titan, the writer Saramago, for a next
movie. "He is not my type", he answers and changes the subject
pointing at a beautiful girl and says: "She is my type".
And isn't he preparing a new movie? About the film he says
it comes from the inspiration and also from the narrative
expression in the Brazilian television that comes to Portugal
through soap operas.
Respectable
Marco Bellocchio, who has already signed some of the best
films-uneasiness in Italian cinema, also presented himself
in Cannes' competition with a film that is willing to solve
the puzzle of human reasoning. "L'Ora di Religione - Il
Sorriso di mia Madre" reveals an Italian secret society
that exists in fact and promotes social climbing taking
advantage of Vatican's benefits.
For
this same reason the film suffered a censorship motion from
the Italian Catholic Church, what ends up by spoiling the
career of the film, in the words of Bellocchio himself.
The reason? Bellocchio focuses on an atheist character,
a painter of prestige, suddenly involved by his whole family,
from the ex-wife to the youngest son, including the most
remote relatives he hardly ever saw. The motive? A movement
for the canonization of his mother, murdered by one of the
painter's brothers.
Bellocchio
is implacable in his insinuations and cruel dialogues of
a family that wants to convince the skeptical member that
they will all profit very much if the mother gets sanctified.
He suggests influence traffic inside the Vatican, the ambition
built on faith, the merchandizing of a God. Bad timing to
talk about it, when Brazil celebrates the canonization of
Sister Paulina as its first saint. The ones who have faith
will see Bellocchio and Oliveira.
FROM
THE READERS
CONGRATULATIONS
I've been following, with great pleasure, the 'Jornal da
Mostra'. Beautiful contribution to cultural journalism.
I've only decided to speak up now because of the article
about the opening of Cannes Festival with Woody Allen. Especially
about the last chunk where you say, "Until May 26, the
55th Cannes Festival should reveal some of the best films
that will live in our imaginations for the next 12 months.
Some, we hope, forever".
It is good to read a text where the author seems to feel
the same passion for the theme that we have ourselves. I
felt that I have company in this "cinematographic passion".
Diana Almeida
"O
Princípio da Incerteza" é o novo filme do mestre
português Manoel de Oliveira (foto), 93 anos, que sempre
Cannes oferece o privilégio da revelação.
Graças ao seu produtor Paulo Branco, Oliveira consegue
finalizar ao menos um filme por ano desde 1985. Seus filmes são
preciosidades que vasculham a razão da existência
e os mistérios da alma. Como sempre, a imprensa mundial
reverencia cada novo trabalho e o louva como o mais respeitável
dos decanos cineastas em atividade.
