Aniki Bóbó

Even today, when you visit the river margins of Porto and Gaia, looking at the rabelo boats (that used to carry the Port Wine from up-river), the iron bridges built by Eiffel and his pupils, and you sense Porto has been remade as a city for tourists, you can still sense Porto is, and was, the Portuguese "working capital", as represented in the magnificent movie Aniki Bobó, a sunny city of honest workers, kids playing happily and careless in the streets, old streets of stone and green... Aniki Bobó is a trip to a Porto that disappeared (most of the town depicted in the movie is now ruins), but still lives, through the lives and dreams of kids. Immortal.

This film has something magical. I saw it a long time ago at the Museu de Arte Moderna in Rio de Janeiro and it remained stuck in my memory. I remember the scenes of poor children playing in the streets of Porto (Portugal), there are little games and love and sometimes a song underlines some scenes (if I remember it right). It's about innocence (not innocence the way Hollywood sees it) and life melding harmoniously together. I could see "Aniki Bobó" only once and I would really like to see it again. There are no VHS or DVD copies released and that's a shame.

It's Portuguese neorealism with subtle surreal and fantasy bits. A real masterpiece. Please, someone release this film on DVD.

A gang of youngsters run around the streets of Lisbon, playing, fighting and getting into trouble.

Manoel de Oliveira's first feature film is the Portuguese equivalent of an 'Our Gang' movie done right.The kids want what kids want, they put up with the incomprehensible and absolute authority of adults when they have to, and get away with what they can when the big folks aren't looking. They have their own mythology and pecking order, and Horácio Silva, as a typical kid, wants just to be accepted as part of the group. It's a truly charming movie. And de Oliveira didn't make another film for fifteen years. He said Salazar's government wouldn't let him, and given the fact that as of his death in 2015 at the age of 106, who was there to contradict him?

This is about as simple as a movie can be. Yet its simplicity is one of its strengths. This is a Portuguese film, spoken in Portuguese language. It's 100% made in Portugal. It was directed by Manoel de Oliveira, the world's oldest film director in activity and still doing films, even though he is now more than 100 years old. But, for someone in such an advanced age, he is in very good shape. That and the fact that he still has plans for the future is respectable, to say the least.

'Aniki-Bobó' is one of his earliest films. It wasn't well received when it came out, but time has been kinder to it. Truly a shame that, after all these years, this wonderful movie is still not available on DVD. The way I see it, they're waiting for the director to die to finally do it as a homage in his memory.

Our movie takes place in Porto city, the director's hometown. Porto has its own symbols, such as the Francesinhas, the Maria Pia bridge, the Port wine and the ex-libris Torre dos Clérigos. The movie is masterfully filmed, with great sceneries and almost entirely filmed in natural settings.

This classic film in black & white is about poor children in the streets of Porto and near the Douro River, where they live adventures, play games, socialize, use their imagination and sometimes have conflicts. It's a take on a childhood that has disappeared today, being pure, poetic, human, nostalgic, charming, funny and dramatic.

The movie's title comes from a rhyme of a children's game, which was already mentioned by one the reviewers here, so I won't say it all over again. As for the shop, (Loja das Tentações), it means "Shop of Temptations" in Portuguese.

Each cast member does a fine portrayal. In fact, this movie is almost entirely acted by kids. The kids have different personalities (for example: Carlitos is shy and reserved, Eduardo is naughty and the ruffian one, the little kid who is constantly stumbling is confident), but they get along well. It's not that they don't have some rivalries at times, but there is no swear, no major violence and no bad stuff.

This film anticipates the Italian neorealism in several ways. It's a small Portuguese masterpiece that should get more credit than it does. Almost everything in this movie works out in perfect harmony, despite its simplicity. And I like very much the typical accent from Porto city by the actors and the music in the film. It's difficult to understand at times, but with more viewings and if you put the sound louder, it's pretty easy to understand.

This should definitely be on Top 250.

Fernando Pessoa, one of the greatest world poets, which happened to be portuguese, as the director of Aniki Bobó once said something like "No children's book should be written for children". I apply this to cinema. There's no sense in making children's movies completely empty of any idea, as hollywood loves to do them (maybe because noone there can make them another way). For those who never saw Aniki Bobó I will say this movie is the cinematic equivalent of Éxupery's "The Prince". A poetic tale for children, absolutely breathtaking in terms of the dramatic intensity created around such a simple story; but, at the same time, a deep reflexion on the theme of human behaviours and conscience. Its characters portrait innocence, vain, envy, generosity and the consequences of all that. (This movie also reminds a soviet old short movie, which tells Romeo and Juliet incarnated into two school children, but I'm afraid I forgot the name of the director and of the movie; if you have any idea of what film that might be, it would be nice to tell me, please). But apart from the second senses of all the movie, it should also be apreciated for it portraits Porto's society and way of living of that time as well as the city's physical appearance, which makes this movie, along with "Porto, faina fluvial", from the same director, and a few others from other people, a vital document for the city's history. An all time classic which should be better known, for the sake of the cinema.