jaimie_burguoix
Iscritto in data mar 2005
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Recensioni2
Valutazione di jaimie_burguoix
Manoel De Oliveira is one of the oldest and most respected Portuguese directors - yet not especially appreciated by the general Portuguese public. This latest movie of his, directed at the age of 96, revisits a subject he's very fond of - the life of D. Sebastião. Sebastião was a very young Portuguese King of the sixteenth century, who inherited a weakened kingdom in need of a strong leader. His education was based on story-telling about ancient Portuguese conquerers, and created on him a wish to retrieve old glories. So, instead of focusing on social issues, he went on a battle on Northen Africa (Alcácer Quibir), where he would be killed. (Note: this doesn't expose the plot; in fact, it's important to understand the movie)
The story isn't new to any Portuguese person, yet this movie treats it in a completely new way. The lives and deeds of kings usually restrain directors to epic movies: that is something seen. "O Quinto Império - Ontém Como Hoje" is something new. Manoel De Oliveira fully explores the psychological dimension of the myth, and he does it with mastery. In consequence, the whole movie is very theatrical, and depends greatly on actor's performances rather than on action. Indeed, it is a very still movie, in terms of physical action. However, there is immense psychological development. The plot develops in a crescendo, becoming more and more intense, suffocating the characters into insanity. Every image, every object and detail has its own meaning, progressively significant.
The acting is of superior quality. Luís Miguel Cintra (who plays Sapateiro Santo) is, perhaps, one of the best Portuguese contemporary actors, and really does an outstanding job on this film. Ricardo Trêpa (who plays D. Sebastião) is a very promising actor, and all the cast is very very good. The only negative feature of "O Quinto Império" is its being a bit too long, which may send some public away.
In conclusion, I'll say this is an example of quality Portuguese cinema (so lacking these days). However, it will always be underrated and treated badly - that is shameful.
10/10
The story isn't new to any Portuguese person, yet this movie treats it in a completely new way. The lives and deeds of kings usually restrain directors to epic movies: that is something seen. "O Quinto Império - Ontém Como Hoje" is something new. Manoel De Oliveira fully explores the psychological dimension of the myth, and he does it with mastery. In consequence, the whole movie is very theatrical, and depends greatly on actor's performances rather than on action. Indeed, it is a very still movie, in terms of physical action. However, there is immense psychological development. The plot develops in a crescendo, becoming more and more intense, suffocating the characters into insanity. Every image, every object and detail has its own meaning, progressively significant.
The acting is of superior quality. Luís Miguel Cintra (who plays Sapateiro Santo) is, perhaps, one of the best Portuguese contemporary actors, and really does an outstanding job on this film. Ricardo Trêpa (who plays D. Sebastião) is a very promising actor, and all the cast is very very good. The only negative feature of "O Quinto Império" is its being a bit too long, which may send some public away.
In conclusion, I'll say this is an example of quality Portuguese cinema (so lacking these days). However, it will always be underrated and treated badly - that is shameful.
10/10
Tarnation isn't a movie for everyone. It is a documentary over Jonathan Caouette's life, turned into art somehow. I must say I found it incredibly troubling to watch it. However, I think that this isn't something negative as one may think. Indeed, it proves Jonathan Caouette's success as director in Tarnation - he, as intended, is able to shock the public, to leave them with a feeling of emptiness and stress.
This strange ability to mess with people's feelings isn't necessarily created by the (very strong) story itself. Despite having such an important role, more than the content, the directing IS what matters. The very saturated colors, the score and the varied sequences of images work altogether to leave us uncomfortable.
As said, Jonathan Caouette and his tiny budget succeed, in movie-making terms. But there's much more to think about - is it ethic to exploit mental illness and considerably disturbed people for a movie? Isn't this the next big hit of voyeurism? I suppose it barely respects the principles of ethics and dignity. But it's his family, his life, so hum.
One thing I must say about this movie is that no one should be sentimentally touched. A movie like this doesn't call for commotion, it is very far away from being pure of heart. Indeed, its full of sadomasochist cruelty, it's Jonathan Caouette's very own public masturbation. He exposes himself to voyeurism, and he gets immense pleasure from it, I'm sure. Hello world, I, the twisted, present you my pain.
7/10
This strange ability to mess with people's feelings isn't necessarily created by the (very strong) story itself. Despite having such an important role, more than the content, the directing IS what matters. The very saturated colors, the score and the varied sequences of images work altogether to leave us uncomfortable.
As said, Jonathan Caouette and his tiny budget succeed, in movie-making terms. But there's much more to think about - is it ethic to exploit mental illness and considerably disturbed people for a movie? Isn't this the next big hit of voyeurism? I suppose it barely respects the principles of ethics and dignity. But it's his family, his life, so hum.
One thing I must say about this movie is that no one should be sentimentally touched. A movie like this doesn't call for commotion, it is very far away from being pure of heart. Indeed, its full of sadomasochist cruelty, it's Jonathan Caouette's very own public masturbation. He exposes himself to voyeurism, and he gets immense pleasure from it, I'm sure. Hello world, I, the twisted, present you my pain.
7/10