Aniki-Bóbó Manoel de Oliveira

European Cinema Education PEDAGOGICAL for the Youth PACKAGE 2 I – OPENING

SUMMARY CINED: A COLLECTION OF FILMS, A FILM PEDAGOGY I – INTRODUCTION • CinED: a collection of films, a film pedagogy p.2 • Why this film?p.3 CinEd has joined a mission of transmitting the 7th art as a cultural object and as a support to understand the • Technical specifications p.3

I - OPENING world. For that reason it was elaborated a common pedagogy, starting from a collection of movies produced in the • What is at stake in this film p.5 European countries, partners to this project. The approach intends to be adapted to our era, marked by a rapid, • Synopsis p.5 major and continuously change, regarding the way of seeing, receiving and producing the images. These last are viewed on a variety of screens: from the biggest – those in the halls, to the smallest – (to smartphones) ticking, of II – THE FILM course, TV sets, computers and tablets screens.The cinema is still a young art whose death has been predicted • Contexts p.6 many times. It is very clear that this didn’t happen. • The Autor: Manoel de Oliveira - The eternal youth of a great Portuguese filmmakerp.7 These changes affect the cinema, transmission must seriously take into account the manner increasingly frag- • The Film in the context of the work: Aniki-Bó p.8 mented of viewing movies, starting from this screen diversity. CinEd publications propose and talk about a sensitive, • Selective filmographyp.9 inductive, interactive and intuitive education providing knowledges, analysis tools and dialog between image and • Affiliations p.10 film possibilities. The works are described on different levels, of course, viewed in entirely and in pieces, according • Testimonials p.12 to different temporality, fixed image, plan and sequence.

III - ANALYSIS Educational brochures invite us to take the movie with freedom and suppleness. One of the major challenges is • Chapters p.13 to intelligently get the movie open – mindedly: description, essential step of any analytical enterprise, the ability to • Film questions p.17 extract, select, classify, compare, confront the images between movies and with the images of other performing • Analysis of a frame p.21 and exposure arts (photography, literature, painting, theatre, comics...) The purpose is images not only to run but • Analysis of a shot p.22 to create emotions ; cinema is an artificial art, extremely valuable for build and consolidate the vision of the young • Analysis of a sequence p.23 generations.

IV - CORRESPONDENCES The author : • Echoes of images: Jokes p.25 With a background in Law, Cinema and Communication Sciences, Carlos has been active in the areas of film criticism, programming and research. • Dialogues between films p.26 In 2012, he founded the Portuguese cinema site, À pala de Walsh and, since 2009, has maintained his blog, Ordet, where he writes about cinema, • Paths between other art forms p.29 contemporary culture and art. He is a member of AIM: the Association of Moving Image Researchers and co-editor of Aniki, the Portuguese Journal of the • Reception of the film: crossed points of view p.32 Moving Image. Interested in the relationship between cinema and pedagogy, an area in which is preparing his doctoral dissertation, he has collaborated

since 2015 with the "Filhos de Lumière" association. In 2016, he wrote a pedagogical book on the CinEd project dedicated to O Sangue by Pedro Costa V – EDUCATIONAL ITINERARIES p.34 and, in 2017, he co-edited "O Cinema Não Morreu: Crítica e Cinefilia À pala de Walsh " Acknowledgements : Agnès Nordmann; Ana Eliseu; Isabelle Bourdon; Léna Rouxel; Luís Mendonça; Nathalie Bourgeois; Patrícia Gomes; Pierre-Marie Goulet; Ricardo Vieira Lisboa; Rossana Torres; Teresa Garcia; Teresa Borges and team from the library of the Cinemateca Portuguesa- Museu do Cinema.

General coordination: Institut Français Pedagogic coordination: Cinémathèque Française / Cinéma, cent ans de jeunesse Portuguese coordination: Os Filhos de Lumière Copyright: / Institut français / Os Filhos de Lumière

This pedagogical booklet is dedicated exclusively to non-commercial purposes. It may not be partially or totally used for any financial benefit, under penalty of being subject to legal proceedings. 3

WHY THIS FILM? TECHNICAL SPECIFICATIONS I - OPENING

Who, as a child, never felt a soft spot for a classmate? Who never joked on the street, until nightfall, when days were all a Nationality: Portugal dream, but classes seemed endless? Who has never felt the weight and harshness of the words of adults or the laughter of Duration: 1h 08 their colleagues behind their back? And who has never felt tempted to make nothing of it, in the hope of it going unnoticed? Format: black and white — 1.37: 1 – 35 mm These and other issues, such as guilt, reflections on good and evil, desire, love and death are the themes that Aniki-Bóbó National Premiere: December 18, 1942 at Éden invites us to think about. This film poses problems that come to us as flashes when we are children, and only later, as Cinema, Lisbon adults, do we realize that the brilliance of these flashes will never leave us, for these are the stuff of life. As cinema is a "time Directed by: Manoel Oliveira machine", although Manoel de Oliveira takes us back to the Portuguese city of Porto in the 1940s with its small cobblestone Script: Manoel de Oliveira, inspired by Rodrigues de streets and its sparkling river, the fundamental questions and teachings of the film remain current for the contemporary Freitas' story, "The Millionaire Boys" European viewer of films from the CinED collection. Assistant Director: Manuel Guimarães Songwriter: Alberto de Serpa But Oliveira does not only show us the art of living. This, his first feature film, made at age 34, opens up an array of images Songs: Manuel de Azevedo and sounds and is a gateway to the singular work of one of the greatest filmmakers in film history. Aniki-Bóbó also makes Original Music: Jaime Silva (Filho) it known that, from the outset of his career, morality, audacity, learning of behaviour and questions of body and soul were as Sound Engineer: Sousa Santos decisive for his life as for his cinema. In Aniki-Bóbó, we already see the deep impulse to observe the reality that, rather than Cinematographer: António Mendes seek any objective truth, prepares the ground to better plant the seeds of fantasy. Editing: Vieira de Sousa e Manoel de Oliveira The use of rhymes, patient work with non-professional actors, the importance of intonation and words, the street as the Decoration: José Porto, Silvino Vieira stage of life, the magic of fiction and love are just some of the elements of Oliveira's cinema that emerge here. Integrating Casting: António Vilar Aniki-Bóbó into the CinEd collection also has the virtue of working with a masterpiece by a filmmaker who filmed until after Production stills: João Martins the age of 100, and in this "good path" he trod, there was no art that did not appeal to his: literature, music, painting, opera, Production: António Lopes Ribeiro or the cinema itself. Producer: Produções António Lopes Ribeiro Studios: Tobis Portuguesa Budget disclosed: 750 contos Distribution: Lisboa Filme, Exclusivos Triunfo

Cast: Nascimento Fernandes (the Shopkeeper); Vital dos Santos (the Professor); Fernanda Matos (Teresinha); Manuel de Azevedo (Street Singer); Horácio Silva (Carlitos); António Santos (Eduardito); António Morais Soares (Pistarim); Feliciano David (Pompeu); Manuel de Sousa (the Philosopher); António Pereira (o Batatinhas); Rafael Mota (Rafael); Américo Botelho (o Estrelas); Armando Pedro (Salesman); António Palma (Customer); Pinto Rodrigues (Police). 4

Growing up Jokes I - OPENING I - INTRODUÇÃO

The fall Love triangle

Guilt 5

WHAT IS AT STAKE IN THIS FILM I - OPENING

GROWING UP Growing up choosing your path SYNOPSIS "Always follow the right path", is the mantra of our hero, the except that he does not have the money to "buy the school Another day starts and it's time to go to school. On the street, boy Carlitos. But this is not always easy, since this path is and have it closed"; on the street, the game of cops and the boys are rushing, to avoid arriving late. Little Pistarim not trodden on straight and well-lit streets, but also those robbers and the tension between being part of the group, arrives late and the teacher punishes him by sending him filled with fears, loves, desires, jealousies, guilty feelings, or not; and launching a paper kite, as if were ascending to to the corner of the class, with a dunce’s cap. Carlitos, the injustices and some mud puddle or other. Manoel de Oliveira heaven, watching over the friends in distress. hero of this story, attends the class with mud on his face. always insisted that Aniki-Bóbó was not a film about and for Eduardito, his schoolmate and rival in love, had made him THE LOVE TRIANGLE children, but rather a work about "adults still in a child-like stumble and fall into a puddle. All to impress Teresinha. She Would you like to play with me? Let's talk? state". That is why the paths of these boys, falling, stumbling sympathizes with the shy and sensitive Carlitos, but seems Carlitos is a sensitive and delicate boy. Eduardito is and running, only reflect the same joys, prohibitions and to prefer the bravery and security of Eduardito. However, our courageous and a braggart. Teresinha, "an innocently restrictions of the world that awaits them. hero does not give up. For this reason, he resolves to steal perverse or perversely innocent girl", in the words of João a doll from the "Shop of Temptations", to offer it to Teresinha Bénard da Costa, the programmer, critic and director of THE FALL and thus conquer her heart. But with the theft comes the Portuguese Cinema, will have to choose to be with only Between heaven and earth feeling of guilt, with which has to live, along with erring from one of them. But the decision is not easy: to attract her, Aniki-Bóbó begins and ends with images of the sky. The the "good ways." To make matters worse, the next day, when one has to show his strength, while the other will climb to film begins with us descending to earth and ends with the children decide to play hooky from school, Eduardito, the rooftops to offer her the stolen doll - in an episode that us returning to heaven, in a circular narrative. From the excited to see the train arrive, falls near the line. Everyone the director recalls as vaguely autobiographical of his own supernatural to the natural and back again. Between panning accuses Carlitos of having pushed him, and stops talking childhood experiences. Aniki-Bóbó is thus a film of the from sky to sky, the camera falls to earth, and Eduardito to him. It is time, then, for our hero to claim his innocence, innocent desires of initiation, but also the initial approach to falls to the train line, even before the credits. This fall is a confess his sins and finally win the love of Teresinha. the complex mechanisms of love. condition of man and of this humanist fable, somewhere between earthly problems and the idealistic lyricism proper GUILT to childhood. Besides Eduardito, Pistarim, being clumsy Good and evil also falls constantly. And then Carlitos falls into the mud In an initial work such as this, the first feature film of Manoel by being thrown off balance, then falls in temptation, in the de Oliveira’s career, the strength and convictions of youth shop of temptations, so as to be able to fall into favour with are shown and filmed. Besides the oppositions between Teresinha. These literal and symbolic falls are the price to the school and the street, or the sky and the earth, Aniki- pay for the small sins of childhood. Bóbó is also a film about the consciousness of good and evil. Carlitos is accused of something he did not do - pushing THE JOKES Eduardito – while, at the same time, no one accuses him of Launching a ‘star’, running a rodeo, being a cop or a robber something wrong that he did do - the theft of the doll. This last sin of Carlitos fills him with fear and guilt, a guilt that In Aniki-Bóbó the school is a cage with cracked walls, in excludes him from the group of other boys and puts to work which the unnamed teacher tries to contain the joy and the most important "court" we have: our conscience. energy of his students, without success. Only a cat at the window beckons with life outside. While the school, like the "Shop of Temptations", are the domains of adults and authority, they are also the place for Manoel de Oliveira to infuse with laughter and irony. The serious things, those of playing and growing up, are outside: the rivalries, diving into the Douro; Pistarim launching the new peão he bought, 6 II - THE FILM director linked to the neorealist movement, particularly with movement, particularly director linkedtotheneorealist official the of author and director poster. assistant A painterandcaricaturist,ManuelGuimarãeswastobecomeanimportantPortuguese an Guimarães, Manuel is it highlight film, to the of important making the throughout Oliveira de Manoel accompanied that team the Of as awayofsupportingnationalfilmproductionintheearly1930’ created been had which Lisbon, in studios Tóbis the at filmed scenes interior the and Douro, river the of banks both on Ribeira, Porto of areas various in shot were exteriors The times. stressful processthat lasted aroundthreemonths,withsceneshavingto be repeatedmultiple the with extensively rehearse thus could who Oliveira, de Manoel of work the favoured setbacks until therewasagreenlightforittoproceed.Inway,delayed and historical allthesepolitical Europe was at war in 1941, and, in Portugal, as it was the time of the dictatorship, the film was Cartazes (see film the of poster official the in detail great in appears who shopkeeper) (the Fernandes Nascimento the well-known to thecast,inparticular added also actorswere set ofprofessional and FernandaMatos)(see be able to participate in the film. Of these, the Carlitos/Teresinha pair stood out (Horacio Silva for themto for permission their relatives and asking in theregion children for several looking For this his first experience in fiction, the director made several casting calls in the Ribeira area, of agroupverypoorboysinthisarea. adventures the of told which Boys", Millionaire The " entitled Freitas, de Rodrigues writer the of the river banks of Porto, his hometown, the filmmaker decided to adapt a story by his friend, workers and inhabitants the of life the by Fascinated change. soon would that But comedies. athlete, motoristorgallantactor inpopular the Portuguesepublicmainlyasapole-vaulting the masterpiece, portfolio, including in his several shortdocumentaries only afewdaysafterheturned34.Despitehaving Aniki-Bóbó CHILDHOOD THE 40'S,FROM THE CAGESOF THE REGIME TO THE FREEDOMOF CONTEXTS II –THEFILM international context, and also clearly see the production and aesthetic influences of influences aesthetic and War II, of prevented the course, Germansubmarines normal movementof ships at the Porto production the see clearly Portuguese and world cinema of the 1940’s. Although Portugal remained neutral also during World and and context, national political, the international of extent the of indications several see can we film, Oliveira’s In the lightofdayortocontainideas soaudaciousforthetime. the areaduring the cultural in dictatorship and, without his influence, intellectual influential an was He (1964). Village] Old the of revolução deMaio such works important out carried Ribeiro Lopes filmmaker, and producer ARibeiro. Lopes Nazaré Aniki-Bóbó [Nazareth] (1952). Another important name in the film production is that of António of that is production film the in name important Another (1952). [Nazareth] ) , Manoel de Oliveira’s first feature film, premiered in Porto in December 1942, inDecember Porto in premiered film, feature first Oliveira’s de Manoel , children in a theatre room in São João, Oporto. Filming was a long and a long was João, Oporto.Filming in São room in atheatre children [The May Revolution] (1937), or (1937), [TheMayRevolution] Quotations Douro, Faina Fluvial Aniki-Bóbó ); togetherwiththeotherboys,theyhadneveracted. A would most likely never have come to see have never most likely would O Crime da O Crime Aldeia Velha (1931), Oliveirawasstillknownto Saltimbancos s. (1951)and [TheCrime A 1 education in good taste and spirit. The popular comedy scenes in scenes comedy popular The spirit. solid a and to taste doors closed good in behind contribute to education and abroad, Portugal of image good a give to twofold: was works these of and purpose Family. " The Motherland, internally of "God, trilogy in the both expressed regime of the values to the convey that, externally, sought production typical a revues, theatre with genre, national comedy the irony, popular the without by not dominated cinema," was cinema Portuguese of period "golden the dubbed 1945, and 1933 between time, this At non- using and professional actors. outdoors shooting poor, the of lives the on focusing films by characterized was film neo-realist first the considered himself author The cinema. world in nature innovative truly a reclaim to contributed that film to eager filmmaker young a by work, single a in elements these all of combination the was it Perhaps regime. works that could damagethevaluesandsensitivitiesof castrating anycinematographic the that was the censorship to circumvent - butalso State period the New - called 1974 and 1933 between lived Portugal which in of dictatorship of theperiod society the closed to mirror only not sought it film. Thus, the over hung that war harmony,the for of need shadow a the and in moralism excessive of marks all are children the to directs keeper shop the that reconciliation final of words the or path", "right the take always to bag, his on has Carlitos that message the In passed by. boats. Oliveira tells of how he struggled during filming to take advantage of the few boats that docks. a desertedriver,in manyshotsoftheDouro,showing visible This isclearly without the store owner and his assistant, Bonifácio, as well as the moments of songs on the street, all very fashionable at the the at fashionable very all street, the on context. songs this in of interpreted be may time, moments the as well as Bonifácio, assistant, his and owner store the Aniki-Bóbó 1 . , the authoritarian caricatureoftheteacherinaschoolthisseenascage, , the authoritarian Aniki-Bóbó Ossessione as the precursor of the neorealist current (even if, officially, if, (even current neorealist the of precursor the as (1943)byLuchinoVisconti).was Neo-realism Aniki-Bóbó between teacher and students, or between between or students, and teacher between 7 II - THE FILM [Benilde, [The Past and the Present], Benilde ou a Virgem Mãe a Virgem Benilde ou [‘Doomed Love’] (1979), an adaptation of (1981), from a work of the writer Agustina Bessa Luís, Luís, Bessa Agustina writer the of work a from (1981), O Passado e o Presente Amor de Perdição Francisca format of the television soap opera - and, in contrast, was shown then in programmed by in its future Paris producer, Paulo filmBranco, with theatres, resounding success. A 25-year the of production with starting first begin, thus would Oliveira and Branco between association tetralogy, the of volume final and women life, on Branco Castelo Camilo and Augusto José of reflections the narrates which . fatalism, in the middle of the nineteenth century. THE TETRALOGY OF FRUSTRATED LOVES OF FRUSTRATED THE TETRALOGY In 1972, Manoel de Oliveira made beginning a series of films portraying unfortunate of Frustrated Love" was given. In the love, the name of "Tetralogy literature, and to which, later, always from works of Portuguese first of these films, withthe support of the Gilbenkian, Oliveira would film the troubled loves of In the midst of a revolutionary period (1975) the eternal widow. the bourgeoisie and Vanda, Oliveira shot and in the face of public indifference, a serene and metaphysical work on the Mother], the second of the tetralogy, or the Virgin mysterious pregnancy of Benilde, taken from a play by José Régio. With the most expensive Portuguese production to date, success the to returned Oliveira de Manoel Branco, Castelo Camilo by novel homonymous the that would mark his whole career. Having had the support of his RTP, film would become a television be further from the traditional version, amid a chorus of insults – as it could not - O (in Aniki-Bóbó [The followed, Hunt] (1964) Pinturas doMeu Irmão Júlio (1931), a short silent film, full full film, silent short a (1931), A Caça [The Painter and the City], experimenting with colour Douro, Faina Fluvial Faina Douro, [The Strange Case of Angelica] (2010) rejected, a work on a Angelica] (2010) [The Strange Case of [Actof With Spring] a small(1963). teamand withoutany form ofsub O Pintor e a Cidade anallegorical short film about the breakdown of solidarity among men. Régio. He was only able to return to feature films twentyyears later, with the ethnographic Acto da Primavera sidy, Oliveira went to a small village in Trás-os-Montes to film the act of transformation of a community during the performance of a religious ritual. for the first time, relating the crystallized images of a watercolour artista the relating crystallized firstof architecture the the with time, images for ofPorto. This relationship with painting continued with As [The Paintings of My Brother Julius] (1965), in which he gives life to the paintings of Julio photographer’s fascination with the beauty of a dead woman, a beloved project that would only would that project beloved a woman, dead a of beauty the with fascination photographer’s come to fruition 100 years later. filmedhe 1956, In 1942), also with a very negative critical reception, especially 1942), also with a very negative critical reception, those at such an early age due to censored projects rejected or guilt. Fourteen years of desire or addressing such subjects as would pass by until Oliveira could return to film. In this period,Angélica heEstranho Caso de had three versions of FIRST WORKS Manoel de Oliveira made After a decade of making small documentaries, Portugal to applaud a masterpiece, whistling and stamping one’s feet. and stamping one’s Portugal to applaud a masterpiece, whistling because the details of a simple life and the less glamorous corners of the city did not not did city the of corners glamorous less the and life simple a of details the because Italian an Pirandello, Luigi episode, famous now a In country. the of image good a give playwright who attended the premiere film’s at the Salon Foz in Lisbon, asked, ironically in customary was it if public, Portuguese the of reaction negative very the of light in to operate the camera, and made and camera, the operate to Porto the of inhabitants the of work and life the about poetry, and rhythm symphonic of debut upon negatively viewed was film the exceptions, some with Although area. riverside family from Porto, he soon left his studies to work with his father, an industrialist and and industrialist an soon left his studies to work with his father, family from Porto, he From childhood, he was fascinated lamp factory in the country. owner of the first electric be able to to in order camera, portable 35 mm, got his first 21, he aged with cinema and, make his first film. He called on his António friend, Mendes, a professional bookkeeper, In any book dedicated to Portuguese cinema, the place for the greatest filmmaker is is filmmaker greatest the for place the cinema, Portuguese to dedicated book any In already necessarily reserved for Manoel de Oliveira (1908- 2015). Born into a noble AUTHOR: MANOELDE OLIVEIRA AUTHOR: FILMMAKER PORTUGUESE YOUTH OF THE GREATEST THE ETERNAL 8 II - THE FILM Amor de Perdição de Amor just world, of to some of an mention the that aristocratic traits mark filmslike dilemmas metaphysical and loves the or wording, theatrical the of use the representation, stylized the frames, the of composition ecstatic the arrangements, the of duration and time the on work the as such cinema, later filmmaker's the with associated is what from the to closer Oliveira brought what of much short, -in slang street the or language of puns of use the humour, physical the acting, the in chained naturalism the Also, montage. fast, a fast-paced in and views), arrangements fixed predominantly later, his of (instead movements camera multiple using tale, would Freitas's de Rodrigues through origins mainstream mature, with to relationship ideas for films, one Oliveira later and the Unlike filmmaker. Portuguese the of that difficulty as technical recognizable astyle of impose and follow to then works with break, acareer period involve also a as serving besides necessarily 1956, a in and 1942 between and existed that sight, interregnum the that first said be could At it analysis, years. superficial previous the in made had he with along films progress, short in the work a remains inevitably film feature first Oliveira's de Manoel ANIKI-BÓBÓ: WORK THE OF CONTEXT THE FILM IN THE never bidhimfarewell:thestoryofoneisother. e aSombra John Malkovich. At theageof104,ManoeldeOliveirabidfarewelltocinemawith and film, last Mastroianni's Viagem aoPrincípiodoMundo death, and age old of themes on forged autobiography fictional a (2001), Childhood] My of with - aging and life his of course the on reflect to begins [The PrincipleofUncertainty](2002).Inspitehisuntiringyouthandenergy, Oliveira Silveira), Luís: Bessa Vale Abraão Agustina of universe literary the on work to continues and (1992) Despair] of with Branco), Castelo Camilo (from " "trilogy Camillian the (1985); with theatre and cinema between relationship the of exploration the in Cristóvão Colombo-OEnigma (with actors Diogo Dória and Luís Miguel Cintra with recurring appearances in his films), or in episodes in rateof the at andcreation, mythicalof experimentation its in - Portugal of History year. the per in film mentioning, one worth practically is It periods prolific 2000's and 90's 80's, the Manoel deOliveira(then73).Itwastimetomakeupforlostfromthispoint,making The favourablereactionto THE REBIRTHOF A CAREER Mon Cas Convent (2012),amasterpieceaboutthecorruptingpowerofmoney, butthecinemawill ‘Non’ ou a Vã Glória de Mandar de Glória Vã a ou ‘Non’ [Abraham’s Valley] (1993) (with one of his most outstanding actresses, Leonor actresses, outstanding most his [Abraham’sValley]of one (with (1993) A SOURCEFILM (1987)] and also opera ( (1995), or or avant la lettre avant la Francisca Francisca Vou ParaCasa Inquietude [Christopher Columbus- The Enigma](2007).Hecontinues [Journey to the Beginning of the World] (1997), Marcello (1997), World] the of Beginning the to [Journey . neorealist aesthetic (see inFrancegaveafreshstarttothecareerof"young" [Restlessness] (1998)or Os Canibais [‘I’m going home’] (2001) with Michel Piccoli and Piccoli Michel with (2001) home’] going [‘I’m [Non, or the Vain Glory of Ordering] (1990), [The Cannibals] (1988)). He closes Porto daMinhaInfância O DiadoDesespero Contexts O PrincípiodaIncerteza Aniki-Bóbó Le SoulierdeSatin ), is, in a way,), in is, far Vale Abraão, , provides a [TheDay O Gebo O [Porto

2 Fanny Owen( and Present)), Benilde ( This fascination, borne of a drive for documentary and realistic observation, gradually gradually observation, realistic and documentary for a drive of borne fascination, This (see films his of several in again up taken be will that something is Douro, Fluvial Faina with first, cinema: Oliveira's all define to were that components the of some 1942 film the in see to possible already However, is it The tetralogy of frustrated loves, made between 1971 and 1981, consists of of 1971 1981, consists and between made loves, frustrated of tetralogy The men. Strange Caseof Angelica characters inOliveira'scareer. These includeVanda (of (see de Perdição and foremost, the fatalism and tragedy of Teresafirst de - Albuquerque and Simão impossible Botelho in seems love whose couples, other recalls pair this While unconsummated. love this makes both of age young the girl, the conquering despite since, , loves" "frustrated story, João Bénard da Costa affirms Carlitos’ love for Teresinha as already one of Oliveira’s first and thelaw,individual of the sublimationlove,searchfor purity andinnocence,irony. In this themes thathe the of some already addressing would not stop referring to: guilt, also sin, the temptations of desire, death, the conflict between was the Oliveira film, feature first his In life". everyday of a "poetry creating art, through life transforming spontaneity, a way supplanting of - as fantasy fictional pure and reality - outer areas two these unite to how time first the in learns Oliveira de Manoel that said be may It fable. the of power the in But Valley] in or [Abraham's in example, (for fictions its for stage" "magical a into city the transforms Present), Present), Analysis ofanarrangement Aniki-Bóbó Benilde ou a Virgem Mãe a Virgem ou Benilde [Doomed Love] - Teresinha’s character, in all its "false innocence" and complexity Francesca ), this fascination for the life and people of Oporto, its city, and the river river the and city, its Oporto, of people and life the for fascination ), this , the city and its daily life join together with the fictional impulse and and impulse fictional the with together join life daily its and city , the Benilde ou a Virgem Mãe ), Ema Bovarinha ( O Estranho caso de Angélica Angélica de caso O Estranho ), allfascinatingfemalecharacterswhodominateandmanipulate (Benilde or the Virgin Mother), Mother), Virgin the or (Benilde ), is also the first of a range of extremely complex female complex extremely of range a of first the also is ), Vale Abraão (Benilde or the Virgin Mother)), Francisca/ Aniki-Bóbó Amor de Perdição de Amor [Abraham's Valley]) or Angelica ( O Passado eo Presente [The Strange Case of Angelica]). O Passado eoPresente O Passado (and already in in (and already (Doomed Love) and Love) and (Doomed Aniki-Bóbó Affiliations Vale Abraão (The Past and and Past (The (The Past Francisca Douro, Douro, Amor The for for ). ). .

9 II - THE FILM

(1997) (1990) (2009) (2010) (1975) (2002) (2012) (1972) (2001) (1992) (1991) (2001) (1985) (2000) (2003) (1963) (2006) ['Non',or The Vain Glory of Ordering]

(1993) (2005) (1988) (1995) (1998) (1931) (1994) (1964) [Always beautiful] [Always

(1942) (1981) (1978) (1996) O Princípio da Incerteza [The Principle of Uncertainty] Um Filme Falado Spoken [‘A Film’] O Quinto Império - Ontem Como Hoje [The Fifth Empire - Yesterday As Today] Singularidades de uma Rapariga Loura [Singularities of a Blonde] O Estranho Caso de Angélica [The Strange Case of Angelica] O gebo e a Sombra [The Gebo and the Shadow] Aniki Bóbó Acto da Primavera [Act of Spring] A Caça [The Hunt] O Passado Presente e o [The Past and Present] Benilde ou a Virgem Mãe [Benilde or the Virgin Mother] Amor de Perdição: Memórias de uma Família [Doomed Love: Memories of a Family] Francisca Le soulier de satin [The Satin Slipper] [The Cannibals] Canibais Os 'Non', ou Glória A Vã de Mandar A Divina Comédia [The Divine Comedy] O Dia do Desespero [The Day of Despair] Vale Abraão [Abraham’s Valley] SELECTED FILMOGRAPHY SELECTED From shorts to feature films, from documentaries to fiction, Manoel de Oliveira has a long career. This is a selection of some of his most important works. Douro, Faina Fluvial (2004) Espelho Mirror] [Magic Mágico Belle toujours A Caixa [The Box] O Convento [The Convent] Party Viagem ao Princípio do Mundo [Journey to the Beginning of the World] Inquietude [Concern] Utopia] and [Word Utopia e Palavra Je rentre à la maison [I’m going home] Porto da Minha Infância [Port of My Childhood] [Magic Mirror]. [Magic Mirror]. [Singularities of a Blonde Blonde a of [Singularities ), the sky panoramas, Carlitos’ Espelho Mágico . An expressive image, heiress of most of the , or Angélica Aniki-Bóbó Analysis of a sequence , the work on shadows and overlapping images of the cops cops the of images overlapping and shadows on work the , [Cannibals], Aniki-Bóbó Benilde, Singularidades de uma Rapariga Loura Rapariga uma de Benilde, Singularidades Os Canibais Girl], dream, or the children’s references to the Devil magic a of effusion, lyrical of dimension, supernatural a of germ the see to us enable or "lamp lighter of the heavens" works later in develop to was that spirituality with relation of form a as apparitions of as such Finally, in Finally, and robbers sequence (see elements in this early film that already indicate Oliveira’s fascination with words that, in his later later his in that, words with fascination Oliveira’s indicate already that film early this in elements films,will have another importance, as a vehicle to enter into an original world that summons magic and the supernatural. still dominates still dominates over the word in narrative and the less theatrical aspect of primitive silent in with the use of a camera cinema, an "agitated" movement "anxious" to see the the world. use However, of comic lines, nursery the scene of the children'srhymes, or "philosophical" talk about death and the soul also are Contrary to what occurs as his work moves towards maturity, however, the image undeniably however, Contrary work moves towards to what occurs as his maturity, 10 II - THE FILM AFFILIATIONS Bóbó in happens school. as boarding And, a French inside life films that film Ashort French 2. ZÉRODECONDUITE tries towinherlove,justlikeCarlitos. who and seller flower blind a with love in falls who bum a is Chaplin film, this personality.In The nameof Carlitos wasinspiredbyCharlesChaplin,orCharlot,themost famous cinema 1. CITY LIGHTS , itplacestheworldofadultsandthatchildreninopposition. (1931) BY CHARLESCHAPLIN (1933)BY JEANVIGO Aniki- realism withwhichOliveirafilmedthestreetsofPortooneyearearlier the recalls environment, of apopular other details of streetsand details the vibrant showing style, Its man. younger another with love in falls who woman married a about film Italian An 4. OSSESSIONE 3. M inspiration for of sources provided white, and black between contrasts and shadows of power expressionist A child. the a also murders but who guilt, man of a issue about the film on German work, This (1931)BY FRITZLANG Aniki-Bóbó (1943) BY LUCHINOVISCONTI . . 11 II - THE FILM 3 6 5 2 4 1 - (A - (The story story (The - (2010)

- (Documentary in which - (Documentary in which were later accompanied the the later accompanied were - (Documentary about two visions 8 Aniki-Bóbó - - (History of the loves and frustrations of Ema, 9 [The Strange Case of Angelica] of Case Strange [The

-(Documentary portrait of the daily life and work by the the life and work by portrait of the daily -(Documentary (1931)

O Estranho Caso de Angélica de O Estranho Caso Aniki-Bóbó Aniki-Bóbó Aniki-Bóbó Porto da Minha infância [Port of My Childhood] (2001) Porto da Minha infância Vale Abraão [Abraham’s Valley] (1993) (1993) Valley] [Abraham’s Abraão Vale Singularidades de Uma Rapariga Loura [Singularities of a Blonde Girl] (2009) Singularidades de Uma Rapariga Loura

the City] (1956) Painter and e a Cidade [The Pintor O Douro, Faina Fluvial Douro, Faina 7 filmmaker's career. career. filmmaker's Some themes and elements present in present and elements themes Some singularity.) 9. a Portuguese version of Madame Bovary. From a novel by Agustina Bessa-Luís.) From a novel by a Portuguese version of Madame Bovary. 8. man tries to marry the perfect woman. But beyond perfection, she has a mysterious COMPLEX AND MYSTERIOUS WOMEN COMPLEX 7. 6. his of lenses the through life to comes that bride dead a for falls who photographer a of machine.) 4. painting) Cruz’ António films, the other from of Porto, one from Oliveira’s 5. 3. and youth in the city of Porto.) Oliveira recalls his childhood TRAIN] O COMBOIO [THE river Douro, in the city of Porto.) river Douro, 2. A CIDADE DO PORTO [THE CITY OF PORTO] [THE CITY PORTO CIDADE DO A 1. 12 II - THE FILM Interview conductedwithFernandaGrilo. there; therestwerepartofatheatricalplayatPatronatode Campanhã." already adreamer, Carlitoslikedtogoandlookattheriver[Douro];hewasapproached was found in Ribeira, where he lived; although he did not live there and since he was to askmyparentsforpermissionactinchildren'sfilm.[…] As fortheothers,Eduardito ther wasabitsurprised. After awhile,ManueldeOliveiraandhiswifewenttomy house group again. I was photographed, in various positions, by one of them. This time, my mo mother totakemespendanafternoonattheCrystalPalace andthenImetthesame myasked teacher my holidays, the during But interested. wasn’t she but happened, had to readapassagefromtheschoolbook,singandrecite. Itoldmymotherwhat de Oliveira'swife. A groupofpeopleappearedatschoolandthentheteacheraskedme "I waschosentojointhefilmthroughateacherwhofriendoffamilyManuel FERNANDA MATOS (ACTRESSWHOPLAYS THE ROLEOF TERESINHA): session devotedtoPortuguesecinemainDecember1954. Statement byManoeldeOliveirato"Cine-ClubedoPorto",forProgrammeNo.183ofa despairs ininjustice." sage ofloveandunderstandingtosuchlike,asawarningsocietythatstruggles Faina Douro, in Fluvial. wasn’t At most, in Aniki-Bóbó, it intentionally, but very lightly,as I intended to suggest Just a mes construction. or structure the of point fundamental a aspect ofasocialoreconomiccharacterduringthefilm,factisthatthiswasnever of what is closed, limited by walls, by force or by conventions. If one sees or feels any unknown, theattractionoflifethatpulsesinallaroundus,contrastingwithmonotony love, friendshipandingratitude.Itwasintendedtosuggestthefearofnight still inanembryonicstate;toputintoperspectiveconceptsofgoodandevil,hatred problems children, in problems man’s mirror to intended was it this: as simple as story a tell to trying in ambitious, even maybe certainly.Yes,And Aniki-Bóbó? in "Intentions MANOEL DEOLIVEIRA (DIRECTOR): TESTIMONIALS - - HORÁCIO SILVA (ACTOR WHOPLAYS THE ROLEOFCARLITOS): DVD ExtraofAniki-Bóbó,Edition:NOS(Portugal). cio Silva"Carlitos"", In "CONVERSATIONSWITHManoeldeOliveira,FernandaMatos"Teresinha"andHorá happened. " not beeninthehabitofcomingdownbyRibeiratocomehome,nonethiswouldhave taking pictures it was up to him, it was not for me to watch. And it waswas just like that: if I had he if that him told I And me. asked he watch?" didn’t you "And replied. I him," saw "I arrived andaskedmewhoIwas,wherelived,ifhadseenamantakingphotographs. I knowitwasnotManoeldeOliveira,anddidcallorlook. Then ManoeldeOliveira "I wasinthecentre, sitting ontheshipmooringposts.Isawamantakingphotographsthere; Fernanda Matos,intheroleof Teresinha in Horácio Matos,intheroleofCarlitos in Aniki-Bóbó Aniki-Bóbó . - 13 III - ANALYSIS On his way to school, Carlitos falls into a On his way to school, The boys bathe in the river and Carlitos starts 8 – fighting with Eduardito, to protectcommotion attracts a policeman and they all flee. Pistarim. The (12:53 a 16:40) 4 – puddle when pushed by Eduardito. Both are trying attention. Teresinha’s to attract (03:45 a 04:36) III III - ANALYSIS In the "Shop of Temptations", the owner the Temptations", In the "Shop of Carlitos offers Teresinha an apple, but she Teresinha Carlitos offers 7 – the rival. Pistarim invites prefers Eduardito, his desolate Carlitos to go bathing in the river. (10:14 a 12:52) 3 – rebukes his employee, the young being clumsy. Bonifácio, for (03:17 a 03:44) On leaving the school, the boys, start to sing to leavingthe school, the boys, start On In the morning, Carlitos to leave gets ready and 6 – happily. (08:46 a 10:13) 2 – way to school. joins the other boys on their (01:42 a 03:16) The children watch the train passing from children watch the train passing from The Class are about to start. Pistarim arrives late CHAPTERS (04:37 a 08:45) 5 – and the teacher punishes putting him in a him by cap on. corner of the room with dunce’s (00:01 a 01:41) (00:01 a 01:41) 1 – out! ! the top of the hill. Watch 14 III - ANALYSIS (22:48 a26:59) and stealsthedoll. 13 – (16:41 a19:19) that Carlitoshasawound,shecleanshisface. tions" andsees a doll in theshopfront. Seeing 9 – - ANALYSISIII Teresinha goestothe"Shopof Tempta Carlitos goesto the "Shopof Temptations"

- (27:00 a28:09) Carlitos ablackeye.Heaskshimnottohurther. 14 – (19:21 a19:55) with theslingshot. dreams of Carlitos Teresinhahits him and Eduardo 10 – Eduarditoboaststhat Teresinahave given t col te os a ter als But tables. their say boys the school, At (28:10 a30:21) Carlitos triestogounnoticed. 15 – (19:56 a20:56) buy thedollfor Teresinha. – 11 CarlitosissadandPistarimsuggeststhathe The shop owner finds the doll missing and missing doll the finds owner shop The (30:22 a32:09) thefollowingday.launch a‘star’ Eduardito decidestoplayhookyandtheyagree 16 – (20:57 a24:08) doll withthemoneyfromhispiggybank,invain. 12 – In an act of friendship, Pistarimtriesto buy the . Eduardito and .Eduardito Teresinhastroll bytheriver. 15 III - ANALYSIS Without even knowing what happened to Eduardito goes to the shop to buy the paper (42:47 a 44:27) 24 – Eduardito, they speak of death, the soul and the Devil. (52:10 a 54:21) 20 – and the owner is suspicious that it was he who stole the doll . There’s There’s not enough paper to make the kite. Everyone, including Teresinha, accuses poor accuses Teresinha, Everyone, including 23 – Carlitos of having pushed him. (48:31 a 52:10) 19 – he buy it; Carlitos to collect money and ask They refuses. (41:39 a 42:46) In the middle of the game and the fight In the middle of the game and the fight At dawn, Carlitos goes down throughAt dawn, Carlitos the roof 22 – is train the Eduardito, and Carlitos between edge the to excitedly run children the and heard, Eduardito slips and of the hill to watch it go by. falls onto the line. (46:41 a 48:30) 18 – her the doll. room to offer Teresinha's top to (35:38 a 41:34) At night, the boys play cops and robbers. the boys play cops and robbers. At night, Eduardito comes back with the paper, and, Eduardito back with the paper, comes they all flee. (44: 28 a 46:40) 21 – upon seeing the shop owner coming their way, his conscience is weighing on him. (32:14 a 35:31) 17 – Carlitos does not want to be a robber because 16 III - ANALYSIS (01:06:42 a01:07:54) and theygoupastreet,likelovers. 29 – (54:22 a57:35) accuses himandnoonespeakstohim. everything that happened. Everyone at school 25 – Carlitos returns to give the doll to Teresinha That night,Carlitoshasanightmareabout (57:36 a59:08/01:00:1301:00:40) boat toescape. that Carlitos, sad, Eduardito slipped. hides ina 26 – tells The shopkeeper Teresinhawhat hesaw, (01:02:25 a01:03:50) back. 27 – Knowing the truth, Carlitos' friendsaccept him (01:03:51 a01:06:41) him backthedoll. the doll to shop owner. He forgiveshim, and gives 28 – Carlitos,sorry, confessesthetheftandreturns 17 III - ANALYSIS ); conversely, the camera, simulating ); conversely, 4 2 (image 2 ). This ). "prize" that the couple receives for fulfilling (image 4 . All the significance of the work. plays out in this interplay of ups ) next to the train, increasing the gap existing between the adults (image 3) What is at stake 3 the adult for social "findingorder, the right path", is the reverse of what happens to Eduardito his companions and skipping school, ends up general transgression of promoting the who, by falling (see and the children. children "crushed" by the weight of their authority In the end, when Carlitos tells the whole truth and is reconciled with the adult world, he and go Teresinha up the steps, hand in hand, with the doll. At that moment, Oliveira filmswith the camera position reserved until then for the grown-ups, making them jump to the other them side of the mirror - the adult world 1 the children's eyes, sees the adults from below, looking up (the ‘low’ view), magnifying them in their proportions while "lowering" and downs: a search to ascend the world of children, up until the adult view, the problems of life to their level. - ). He Aniki- Aniki- Testimonials ARE BRIDGES BETWEEN ARE ). ANIKI-BÓBÓ image 1 ( how each of these worlds are visually constructed, but it is also important to also important is it worlds are visually constructed, but these of each how Aniki-Bóbó is to show the opposition and complementarity of various worlds: between the view between the view and complementarity of various worlds: is to show the opposition , 2012) Manuel Antonio Pina (1943-2012), the Portuguese poet, writes that this is a is a poet, writes that this the Portuguese Antonio Pina (1943-2012), , 2012) Manuel Aniki-Bóbó favours the camera filming from top to bottom (looking down) to simulate the adultview of inverted than symmetrical. On the one hand, serious dilemmas inverted than symmetrical. On the one hand, are transferred to the world of childhood, while one the seeks adults are mainly burlesque caricatures from which, ironically, to deconstructthe order that governs the grown-up world. On the other hand, the director need to understand how adults constrain but also nourish a veiled affection for children in the need to understand how adults constrain but also nourish a veiled affection world of It can be said that Oliveira constructs a mirror between children adults that is more and proper name, they are known only for the function they play - the teacher, the shopkeeper, the the shopkeeper, the teacher, function they play - the are known only for proper name, they policeman - in maintaining an order and a system of rules of which they are guardians. In addi tion to not having proper names, we sometimes do not mother, even see their faces; Carlitos’ and authority we affection and voice are the only "instruments" of instance, whose hands for Carlitos, Eduardito and the other boys belong to the open spaces of the streets, the river, the Carlitos, Eduardito and the other boys belong to the open spaces of the streets, the river, his in owner shop the or classroom the in schoolteacher the as such adults, contrast, By fields. who have a boys, unlike the And, "caged" in their enclosed spaces. establishment are mostly what is of the child and what is of the adult has the result that it is not enough what is of the child and what is of the adult to perceive in made. understand how the bridges between them are Manoel de Oliveira refused to label his film as a play about children (see would rather say it was a film about adults still in an embryonic childhood state with problems good and evil, justice and injustice, hope and arise: the relation between to about were yet that The refusal to separate absolutely and conscience. love and hate, desire and death, guilt fear, ADULTS / CHILDREN ADULTS order and transgression; or, finally, between drama and laughter. In these, balancing intuition intuition balancing these, In laughter. and drama between finally, or, transgression; and order adulthood, to childhood from transition the us shows work Oliveira’s de Manoel reason, and a time of naivety composed skilfully by the We filmmaker. shall look at how some of these bridges between worlds are constructed. . the soul and heaven and the pragmatic problems of the body and the earth; between the the between earth; the and body the of problems pragmatic the and heaven and soul the place in them; between cities and the poetry and stories that take realism of spaces and of the script; between of Ribeira's children and the rehearsed words the spontaneous gaze of fiction, manifests itself in a desire for experimentation and a journey on several choice imagery in be said that the principle guiding the With this in mind, it may paths. Bóbó the idealistic principles of and that of adults; but also between and the world of children Bóbó "spontaneous and emotional" film "unrelated to the schools and This aesthetics of cinema." spontaneity, characteristic of a work of youth and, in Oliveira’s case, a first featurefilm 01. THE IMAGES01. OF WORLDS In an extraordinary book about Manoel de Oliveira's film (Pina, Manuel Antonio, FILM QUESTIONSFILM 18 III - ANALYSIS 7 5 followed themomentsoffun that tragedy and sadness the symbolizing shattered, ground, the on kite the films director the one whostolethedollfromhim the that hewas has discovered fears thattheshopkeeper he runs awaybecause also Carlitos classes, skipped they why discovered has adult the think they because flees group the while that, is nuance The flee. to starts everyone and companions, his warns river, the by keeper old crackedwall through theeyesofourhero,image to theschool what hefeelsinrelation teacher, and will have to wear the dunce’s cap. In the second example, Oliveira conveys to us difficulty with - soonafter,discipline school Pistarim,whoarrives evenlater, onlyputshishatinitsplace has theeffectus howhisdelay the others-telling among rustling transgressing ofslightly flapping hat the detail, in us, shows director the While hats. other the with along cap his puts the art of Manoel de Oliveira reveals the invisible. In the first, Carlitos arrives late to school and examples, chosen four these In life? of aspects intangible jealousy, other love, or film to how other inner dimensions of existence that have no immediate correspondence to tangible reality: One of of the challenges the art of achievement isconveyingto the viewer the feelings and /INVISIBLE VISIBLE (image 5) (image 6) . by the be punished he will And then,topayforhislackofdiscipline, . In the third,lookof Carlitos, worriedaboutseeingtheshop (image 8) (image 7) . . Finally, after the rapid sequence of Eduardito's fall, 8 6 characters. A verysignificanttensionresultsfrom,intheplaceswhereplotof he worked with area children whowere taught laboriously and made to interpret their riverbank, Douro the to places ofhisownchildhood,inatimewar. next As alreadymentioned(see areas the and Oporto city, his filmed Oliveira de Manoel /CINEMATOGRAPHICREAL CITY of thesetworealitiesenablestruly graspingwhatitmeanstogrowup. children - the cloudsof between the sky and the weight of the earth- perhaps onlythe junction of asequence (see robbers and cops of game the of sequence gloomy and expressionist the or it; relates to this and distortionof dimension, withthe visual elementsthat overlapping obscure nightmare Carlitos’ background. ingenuous and caricatured comic, dreamlike, a with along Porto - in escape attempted Carlitos’ doll, the of theft the fall, Eduardito's with tragic as and - realistic episodes around film his weaves Oliveira de Manoel relationship, intricate this of visions of dreams andmarvelstogetherwiththe from rules that reality.we arelearning Aware One of the most complex aspects of childhood is the way in which we integrate our emotions, /REALITY DREAM 9 purely imaginarycharacters. film and routines,while,onthis,ManoeldeOliveiraisconstructingatrue never failtomeetthisdoublefunction:theydocumenttherealcity, withitsinhabitants story in the foreground spaces filmed,becauseitwasintheinterestofdirectortoputchildren'sfictional river or port the at working men oxcarts, of thesitesandthattime–withpeoplepassingbyinahurry, womenatthewindow, Bóbó that exists only for these children, who are no longer actual Ribeira boys, but become unfolds. While, on the one hand, there is always a amount of truth behind the action ). in the pathofthese placed images and complementary As twoalternative (image 10) . In this way, the cinema and images of (image 9) 10 , thereisnorealisticcontinuityinthe cinematographic Aniki-Bóbó Contexts Analysis Aniki- )

19 III - ANALYSIS 2 4 3 1 , or , or (image 1) , "RAW MATERIALS", "RAW OF CREATION Aniki-Bóbó. Aniki-Bóbó. and Teresinha's shrill scream, in panic, right after the Teresinha's and , then, repeatedly, towards the end, the rapid succession of then, repeatedly, , ANIKI-BÓBÓ (image 4) Aniki-Bóbó or the hurried repetition of the shopping list made by Teresinha and by by and Teresinha by made list shopping the of repetition hurried the or . To this, the ambulance the accident, this, siren can also be added, heard shortly after To . (image 2) (image (image 3) (image DANGER tension. dramatic of moments or excitement danger, announces sometimes sounds of use The Before the credits of Pistarim stumbling with his own shoes. Sometimes the sound or intonation of words is to the sound or intonation of words is to Pistarim stumbling with his own shoes. Sometimes provoke examples: Two laughter. Pompeu's squeaky voice when reading the text in the school later [17:00]. the shop keeper, THE COMICAL of comic scenes music emphasizes and pampers the gestures At various times, the bumping against a post happening in the street, whether it is Carlitos children run through the streets, or play; or more tense notes for the moments of rivalry for the moments of rivalry the streets, or play; or more tense notes children run through between Eduardito and Carlitos. We see other examples in which music and sound of dimensions help build the different evident, is the association made by Jaime Silva Filho between different character character Filho between different by Jaime Silva the association made evident, is romanticized and idyllic most the recognize We styles. musical different and groups and Teresinha between reserved for the seduction scenes chords as such, being scenes in which the also more rhythmic passages for the group Carlitos; but there are 02. SOUND AND MUSIC IN and most numerous roles. First, and sound play de Oliveira's film, music In Manoel when we see the image of the ragged kite on the ground [49:45]. when we see the image of the ragged kite on images leading to Eduardito’s fall next to the track are accompanied by the hiss of the train, to train, the of hiss the by accompanied are track the to next fall Eduardito’s to leading images announce its sudden arrival fall 20 III - ANALYSIS Analysis ofasequence between copsandrobbers,separationsthatprefaceotherstofollow, inadultlife(see being a source of fun, singing and dancing the already mentioned slang, whence life comes and from whence it sings - tellusoftherelationshipbetweenstudentsclosedincagesandopenwindows,from door, thesparrow leavesthecage"or"Openupyourwindowandlifeismorebeautiful" (see Serpa de Alberto by created verses, the example, moments of play or conviviality, music also has a very clear narrative content, In the first At othertimes,inadditiontoplayingtheroleofaggregatoradultsandchildren FRIENDSHIP reality hasfallenonourhero engines intheharbourincreasesvolume,conveyinghostile andheavyformofthe and smoke ships’ the of noise the sequence, this all In ship. cargo a in flee to decides now accusedofacrimehedidnotcommit-havingpushedEduardito -thesadCarlitos robber."(see the you’re robber… the "you’re head: his Carlitos hearsrepeatedlythewhisperedwordsofgamesaidbyEduardito,asiffrom psychological by guilt the convey to exaggerated and disturbance aspectofacharacter. Followingthegameofcopsandrobbers,consumed modified sometimes are sounds The CONSCIENCE (image 7) for a"crime"hecommittedandofwhichnoonehasyetaccusedhim, ). (image 8) Aniki-Bóbó . that gives its name to the film which, besides (image 6) (image 5) , also enables separation of the boys Analysis ofasequence . The same thing happens with Technical ) - "Open the school ), Later, 7 5 8 6 21 III - ANALYSIS

Aniki-Bóbó is to make clear: the doll, over which Teresinha and and Teresinha is to make clear: the doll, over which Aniki Bóbó shop, an enclosed space, an adult space that simultaneously means a source of desire that simultaneously means a source of desire shop, an enclosed space, an adult space and integration for the children, but equally At of the limitation same and time, authority. on the outside, the children are free, sighing, playing, with the river Douro, the natural playground of their childhood, as a backdrop. another step in their growth and at the entrance to the adults world. to the adults world. another step in their growth and at the entrance camera, which the third decisive element is that of the point of view of the Finally, The camera is placed inside the outer space. establishes a division between inner and what the final scene of now reconciled, is a physical representation of Carlitos will join hands, going up the street, which is simultaneously of this innocent relationship, their love, symbolizing an "offspring" Another fundamental element is the way in which the frame shows us a masculine in which the frame shows us a masculine Another fundamental element is the way association between the two boys’ friendship, on the one hand, in Pistarim’s friend; and, on the other hand, the feminine posture, with his hand on the back of his beautiful the doll, emphasizing and Teresinha of association through the similarity of the dresses into something that shines, in order to better illuminate the shot and thus set out more illuminate the shot and thus set out more into something that shines, in order to better for defines element dramatic the Seeing eyes. boys' the in doll the of form the decisively should be. the director the height at which the camera own "object of desire". Finally, Pistarim appears to covet the jar containing the treats. Pistarim appears to covet the jar containing the treats. own "object of desire". Finally, realistic. We it is not to mention that it is important of the doll, " illumination" this On can see from the following sequences that Oliveira decides to transform this candy jar encounter with the world of feelings and desires, Manoel de Oliveira enacts on this plane plane this on enacts Oliveira de Manoel desires, and feelings of world the with encounter and a glances, poetically transforming reality, a relationship of looks that are both initial with the doll looks emboldened, Teresinha stripping away of ulterior motives. In this way his Teresinha, at looks Carlitos part, his For desire. her of splendour the by illuminated flight from the policeman, Carlitos and Pistarim see Teresinha near the window and near the window and Teresinha Carlitos and Pistarim see flight from the policeman, factors of choice of framing, several determining approach. Here, in the As it is a film about children's first the looks. Right away, are revealed immediately. indecision to the viewer in the amorous rivalry between Carlitos and Eduardito, this frame and Eduardito, this frame in the amorous rivalry between Carlitos indecision to the viewer girl the that doll the indecision: this increase will that factor the time first the for reveals Temptations". "Shop of it in the window of the symbolically named covets, upon seeing and Eduardito with fight the after Douro river the on adventure the from returning Upon components: those of fixed images printed on the film, or frames. The connection of all gives the illusion of motion. these during projection Teresinha’s shows Oliveira de Manoel how see we sequence, previous the of analysis by If, A frame, by nature, is more photographic than cinematographic. than cinematographic. is more photographic frame, by nature, A While the fixed plane provides the maximum degree of immobility, the camera, during singular and immobile types of planes, is composed of even more shooting, like all other DO YOU WANT THE DOLL? WANT DO YOU CHAPTER 9 [00:17:46] ANALYSIS OF A FRAME ANALYSIS 22 III - ANALYSIS accuse me?"[51:16]. "someone else"; and she too will with accuse him of a sin he did not commit: "Youup too, meet Teresinha?and Youher also on back his turn to prefers he analysis, upon sequence, upon seeinghimwithafacefullof mudduetoEduarditomakinghimstumble[04:16];inthis him at laughs others, the like she, scene, opening the in retreat: a advance, each for But going upthestepshandinhand, withthedoll. honesty followedandaccountsfor minorsins settled, they aretogether, already"married", will almost be fatal to him, rolling along the roof [39:47]; at the end, with the standards of window of the room, when Carlitos replaces the apple with a doll in exchange for a kiss that receiving a pat on the cheek [see him, nor receive an apple, but the next time they see each other, he has come closer to her, with play to want won’t briefly. other, She albeit each to speaking were they now time, first film, he is closing the gap, coming closer to her. While they had only exchanged glances the The storyofCarlitosand Teresinha involvescomingadvancesandretreats. Throughout the ADVANCES RETREATS AND after he, asking herifshe’dlikeplaywithhim,looksforanappleinhisbagtooffer her. while Carlitos, abandons she and certainty, into turns talking tohim, hesitation next this the sequence, in before right And attracted. but, feels she whom to inCarlitos, Eduardito, of sight catch to interest needs she shows girl The revolves. film the which hesitant movement of Teresinha, visually translates the whole amorous dilemma around the accompanying sequence, this in movement camera the that out point to important is It HEART OF CHANGES AND CAMERA MOVEMENTS THE OF re-frames thecouple,withasubtlemovementtoright. camera the where is this again: once direction Carlitos’ in turning and intentions her on following sequences, we discover to be Eduardito. Next, Teresinha hesitates, going back the neckmovementof Teresinha, tryingtoseesomeone river. At thismoment, thecameracontinuesitsinterruptedmovementtoleft,following (image 2) 1) begins byfollowingonly Teresinha's walkfromthe righttotheleftofstreet Carlitos totheriverside,andcrossitwithhim. At thatprecisemoment,thecamera,which to theirlevel.Shecomesdownthesteps,andatendoffilmwillgouptogetherwith girl captured from below, looking upwards, now, in this sequence, Teresinha will descend separated theboys-seenfromtoptobottom,posingimpress,instreet then camera director’s the While [o3:46]. balcony her of heaven" "unattainable the from The firsttimesheemergesfromaboveasadollunveiled,smilingathimandEduardito The shot chosen belongs to the second scene in which Carlitos sees his beloved Teresinha. 7[00:10:35 TO 00:10:47]CHAPTER HAS MANY DIRECTIONS DESIRE ANALYSIS ASHOT OF , stops moving and becomes fixed, with the entrance and Carlitos’ approach in shot in approach Carlitos’ and entrance the with fixed, becomes and moving stops , . Then Teresinha passesbyhim Analysis of a frame (image 3) andtakesafewstepstowardsthe ]. Even closer than this, only at the (image 4and5) , who,inthe (image 5 3 1 4 2 6 23 III - ANALYSIS , with Carlitos , with Carlitos , between those who , between those who (image 1) from the group, something from the group, something 6 divided ). Nor is there a lack of expression expression of lack a there is Nor ). isolation and, in this moment, we see Carlitos and, in this moment, we see Carlitos accusation Echoes of images 5 . Carlitos tells him that he does not want to be a robber, to be a robber, . Carlitos tells him that he does not want (image 2) Eduardito repeats the rhyme and, arriving at the part of "you’re a cop!", points to the other other the to points cop!", a "you’re of part the at arriving and, rhyme the repeats Eduardito a moment and, who leaves, "abandoning" Carlitos to his fate. Eduardito pauses for boy, resuming with redoubled intonation, seals his rival’s fate: " you’re a robber!" The sound effect sculpts the exact moment of the drawn shadow of Eduardito and his finger, trapped between his own shadow and the on Carlitos’ chest but Eduardito reinforces the accusation, which has a double meaning, as the audience knows: in the game, but also in life, Carlitos is indeed a thief. seek and those who hide. The boys are being chosen and the tension grows, because The boys are being chosen and the tension grows, because seek and those who hide. wall. the on boy another and Carlitos only is there Now fate. Carlitos’ know not do still we Eduardito then proposes playing cops and robbers and the boys, whom Carlitos has Carlitos has whom the boys, and robbers and proposes playing cops Eduardito then now joined, jump with excitement. They line up next to the wall always coming last. And, with Eduardito’s finger-pistol and the rhyme soldier, sailor … of you’re a tinker, cop! you’re tailor, a robber! – they are FOR FUN OR SERIOUSLY? 4 In a sequence that is somewhat military or not involving he That is, a position the "general", the "conductor" of the group. Eduardito is the "captain", the game of cops and robbers, incident the (see will play until his train the which to "Aniki!", says first Eduardito group: the on imposes he discipline the us shows to others respond: "Bóbó!". he does even belong to the group for a leader, Carlitos, Eduardito's rival, is not only not a marks the Silva Filho Jaime The music of from the rest. him isolate - his bad actions time of glances curious the before from, where exactly knowing without alone, arrives he moment progressive his to progresses sequence The others. the that will only be "remedied" towards the end of the film. [01:03:04] that will only be "remedied" towards the end 3 . In the first, Eduardito agrees with his friends . On the one hand, several of the film’s themesare sequences, until now a daylight film, totake place at 2 Aniki-Bóbó four distinct parts Aniki-Bóbó At first, we see the boys in line and Eduardito from the rear, already in an attitude of a already in an attitude of a At first, we see the boys in line and Eduardito from the rear, giving orders on what each is to bring authoritarian and accusing, finger in hand, leader, the next day for the launch of the ‘star’. illuminate the conversations and games that will follow, be extinguished precisely at the final moment - Carlitos' flight - leaving the possibility of this whole scene being a nightmare, taking place at a dark time, in a brief, light fog. replies another. After a beautiful twilight scene on the Douro River, it is not by chance that scene on the Douro River, a beautiful twilight After replies another. the at lamp a with man a of hand the by lit being night the with precisely begins sequence our This small street light, that will before a couple passing along a narrow street. top of a ladder, night. To this, another three will follow: the delivery of the doll at dawn in Teresinha's room Teresinha's dawn in the doll at three will follow: the delivery of this, another To night. [35:38 to 41:34]; philosophical the conversation boys’ on souls and the devil, when Eduardito nightmare is in hospital [52:10 to 54:21]; and Carlitos' [54:23 to 55:55]. In the conversation scene, one of the boys asks "Who lights the stars?" "The one with the lamp in heaven," This is the first of the WHEN GUILT PURSUES WHEN US GUILT CHAPTER [00:32:09 00:35:33] 17 TO ANALYSIS OF A SEQUENCE ANALYSIS IN GROUP AND ALONE chase each other, running through the (almost) deserted streets, In the fourth, Carlitos is is Carlitos fourth, the In streets, deserted (almost) the through running other, each chase apprehended by Eduardito and runs away. an adult, beginning to reflect on the problems sequence is thatdivided into his own conscience poses him. This on the details of the launch of the ‘star’, for the following The day. second, beginning with boys the third, the In robbers. and cops of choice the and game the initiates arrival, Carlitos’ ability to show the invisible, his expressionist work on shadows as a sign of the interior of title the Finally, element. disturbing a as sound or environment, dream the characters, his sequence of the film is the key narrative moment, in which Carlitos will begin to become central to understanding central to understanding the with relationship Carlitos' of dynamics the seriousness, of moment a as levity present: our fears. On the other of taking responsibility and the need to face group, the importance his achievement: his of marks the of some here reveals also Oliveira de Manoel hand, 1 The sequence of the cops and robbers game in the poorly lit streets of downtown Porto is 24 III - ANALYSIS that emanatefromthemselves. atmosphere tothepursuit,inwhichboysarealsobeingpursued bytheveryimages really they than larger much are, "painting"thewalls,roads,buildingswithstrangeshapes givinganightmare seem boys The bodies. and space expand shadows the a at eating cats street corner,stray or the ladies at the window, with shadows covering their bodies. Second,the of sequences the the in in visible consequently, very and, is viewer element This the characters. in doubt instils visually thus and body a without be identified, contributes to create an aura of mystery and fear. The shadow is movement objectives. First, the shadow, as a moving part but with a source that cannot immediately (see scene expressionist an in shadows, the on work The wanting tobepartofthisdance showing, behindtherunningboys,theirshadowsarecoming,agitatedbywalls,also only oneorothertimidfocusoflight shows ustheboysdownbelow, runningthroughthewideanddesertedspaces,with becomes faster, accompanyingtherhythmoffun.Oliveiraraiseshiscameraand begins game the command, Eduardito’s With 7 US AND SHADOWS US AND 8 (image 5) (image 4) . (image 3) , orheispositionedattheendofastreet, . Inthisthirdpart,themontage 9 Contexts ) hastwodistinct 10 Carlitos andEduardito,symmetricalrivals,are,deepdown,the - positioningonetotherightofcolumnandother leftindicatesvisuallythat sequence by a wake the pursuers,stoppingbysamecolumnwhereCarlitosstopped,andfollowsinhis from separates also he Eduardito: with happens same the sequence, in shot, same the arches andhestops First, Carlitosstandsoutfromthegroupofrobbersinascenewheretheycrosssome feels doesnotallowforsuchatheory. And thisisolationinwhichhewillfallisprogressive. - hecomestoplaywithhisfriendsManoeldeOliveirashowsusthatthe groupthe into Carlitos integrate to attempt an as read be can sequence entire this While FLEEING ONESELF FROM (image 7) symmetrical . But if the destiny of the rivals seems to unite them at the end of the of end the at them unite to seems rivals the of destiny the if But . (image 6) 11 relationship -sincetheplansoftwoboysareverysimilar andthencontinuesintheoppositedirectiontothem.In 12 reverse ofeachother. guilt ourhero 25 IV - CORRESPONDENCES , 1886 , 2013 , 1942 Le pont de Courveboie Broken Mirror The Girls and The Diver 1942 , Aniki-Bóbó

Etching by Jaco Putker Painting by Georges-Pierre Seurat Frame of

Photograph by Helen Levitt 3. 4. 1. 2. IV – CORRESPONDENCES IV 2 4 Whether on the street, in the field, by water, earthWhether on the in street, or theair/ field,water, by children's will play end. never ECHOES OF IMAGES ECHOES JOKES 3 1 26 IV - CORRESPONDENCES 1 reinforcing thefilm’s comicdimension,theteacherwillclearlynotpassoverinsilence. (image 2) soaked, comingfromtheriver, appearslaterinthefilmandisforgivenbyteacher a dunce’s cap in a corner of the room film, we soon see the teacher reprimand the student who arrives late - Pistarim will wear through the streets, on their way to school. While, in one of the initial scenes in Oliveira’s Both films begin in the same way, with children in groups, animated and content, running and ontheother, theoutdoors,contactwithnature,sourceofdiscoveryandplay. hand, one the on school, of area claustrophobic the life: child’s a in areas two opposes There aretheseveralpointsofcontactbetweenthesetwofilms.First,startingpoint, adventure intheheartofnature. bridge into the river and then, in trying to retrieve it, gets to "see the world" and live an theof top the from bag school his throws boy a this, In advice. motherly this of example an as seen be well could acting, of art the in experience no with children with working also and film, Oliveira's de Manoel after years fourteen Rozier Jacques Frenchman by Aniki-Bóbó " This is the advice the mother gives to João Parvo, the hero of a story that the boys of "Look, mychild,ifyougetoutandseetheworldpeople,you'llbeaverysmartboy. there… out and life school In CLASSES ANIKI-BÓBÓ FILMS BETWEEN DIALOGUES . But this does not forgive the homework mistakes made by the student. These, (1956), JACQUES ROZIER (1956), JACQUES readatschoolinoneofthescenesfilm. (1942), MANOEL DE OLIVEIRA AND AND OLIVEIRA DE (1942), MANOEL (image 1) 2 - thestudent'stardinessinRozier'sfilm, RENTRÉE DES Rentrée desclasses , made excessive anddeafening, always heard from an exaggerated perspective, typical of an age where everything seems popular origins,classicalmusic isreplacedbyrhymes,noisesofboats,bellsandtrains, of discoveringtheworld,fulllyricismandsubjectivity. In experience this of construction cinematographic the completes Rozier Jacques - sings Using classical music and the work of sounds in nature - in them, inecstasy, entranced inthegreatnessandmysteryofreality both filmmakers show by shooting from a very high perspective, as if God were observing cause thechildrentolosethemselvesinvastnessoftheir surroundings,something of adventurethechildreninrelationtonature.Often,discovery processesinvolved In both films, image and sound are used in order to construct these liberating experiences 3 3 ful worldofnature. will transportintotheauthorityofschool,destroyingitsorder, representsthewonder snake theboybringstoclassroom. This snake, whichthelittleheroofRozier'sfilm classes, itisthroughthemthatthestudentsescape,asiffromaprison,forfearof in among colleaguesaremade The school is this closed space, therefore, where little or nothing is learned. In it, matches Aniki-Bóbó , acat looms, "beckoning" withthefreedom of outside; in Rentrée des (images 7and8) 4 , andonlythewindowsareofinterest: Aniki-Bóbó Rentrée des classes (see images5and6) , reinforcedbyits , nature - . 27 IV - CORRESPONDENCES Film Film The Man Man The . In the first, we . In the first, we (image 1) , the more central parts of of parts central more the , THE MAN WITHOUT A WITHOUT THE MAN 2 ) and evidenced in particular by several several by in particular evidenced ) and . Within the film itself, part of this "realism" "realism" this of part itself, film the Within . (2002), AKI KAURISMÄKI Contexts The Man Without a Past a Without Man The (image 2) (image dialogues, the young Pistarim tells his friend Carlitos how good good how Carlitos friend his tells Pistarim young the dialogues, ). In the case of case the In ). , M, the protagonist, has no money to buy a plate of food, due to suddenly due to suddenly food, of a plate buy protagonist, has no money to the , M, (1942), MANOEL (1942), DE OLIVEIRAAND Aniki-Bóbó ). The same issue of poverty is more clearly addressed in Aki Kaurismäki's film film Kaurismäki's Aki in addressed clearly more is poverty of issue same The ). Film questions Film ANIKI-BÓBÓ , MIES MENNEISYYTTÄ VAILLA PAST Being on the side-lines, looking for an identity 1 Without a Past Without all his documents, thus arrived in Helsinki, losing his memory and being robbed when he not knowing who he was nor how ended in the suburbs of the city, falling into a "new life" serves to underline that both films, although The comparison of these two details up there. differently. albeit poverty, of condition the on reflect to try years, sixty exactly by separated de Freitas called "The adapted from a short story by Rodrigues In Manoel Oliveira's film, Millionaire Boys", the background for the story of the growth and desire of Carlitos and scarcity and disturbance riverside area of Porto, at the time of his friends is the poor experienced during World War II (see In one of the of one In the school in he would buy and, if that happened, to have lots of money it would be of scenes the of one In butter. with steaks eat only and closed, it have to order of its inhabitants who appear in the background, in their tough life of work (see work of life tough their in background, the in appear who inhabitants its of questions dictated by the post-war period, in from the point of view of a city and its transformations, a proletarian class that has no place in an ironic portrait that pushes away to the suburbs the urban space of a new economic order. is not fully realistic In both works, the handling of urban spaces of a "cinematographic city" of Porto by Oliveira have already referred to this construction (see and its container houses, filled with industrial the city are replaced by their surroundings bulldozers and walls peeling debris, such as those of the employment urban order, contrasts with minimal scenes of a mass agencies, hospitals, prisons, or banks. . (image 8) 8 6 , plan to play hooky from school in order to launch to launch , plan to play hooky from school in order (image 7) 7 Rozier's film, the protagonist also prefers to miss classes, seeking adventure along the the along seeking adventure classes, to miss prefers also protagonist the Rozier's film, inside, to the sound of a real going bathing, "losing" himself walking by the water, river, insects birds and choir consisting of the noises of water, outside and with nature. And, for both films, in nature, with representing water purity as and a circulation, seen liquid as element the fulcrum. In Oliveira’s film, the boys go bathing in the river Douro In boat. "evils" by his from flee to plans even Carlitos and river, the by trip a kite on a TACTILE IMPRESSIONS TACTILE to growth, through the contact with the In both films, transgression is also essential 5 A SENSITIVE LIGHT, SOUNDS, APPROACH: 28 IV - CORRESPONDENCES 3 with aclearconscience,takethehandoftheirbeloved identity and assume the consequences of their actions. The reward will also be the same: mirror environment, thetwoprotagonistsofthesefilms,CarlitosorM,willhavetolookin 5 and6) characters ofbothfilms,outdoormusicplaysanimportantaggregatingrole Finally, itshouldbementionedthatinthesimpleandpopularareainhabitedby with abureaucraticandKafkaesqueorder, whichridiculeattemptstodismantle. the institutionsreferredto,suchasprisonoremploymentagency, that areidentified them onlyasasourceoflaughterormeaninglessorder, whileinKaurismäki'sfilm,itis of deconstruction.InOliveira'sfilm,thechildrenlookattheseunnamedadultsandsee seek to criticize the institutional order and do so in the same way, using comedy as a form documented identity. And, startingfromthisparallelism,onecanseehowthetwofilms this without achieved be can nothing where system, bureaucratic Finnish the of critique their own names, while in the second, all the loss of the protagonist's name implies a In thefirst,thisrelatestogivingmoreimportanceworldofchildren,eachwith In with life:growup,inshort. Aniki-Bóbó (images 3and4) , atthesametimeassonglyricscommentsubtlyonaction.Inthis , liketheprotagonistof becausethechallengetheyfaceissame:touncovertheir 4 The ManWithout aPast (images 7and8) , adultshavenonames. , andmoveon (images 7 5 8 6 29 IV - CORRESPONDENCES is organized more around around more organized is Aniki-Bóbó ofthe story arealso evident inthe film, such asthe opposition between the schoolthat "smellsof mould" and dusty" books" and the spaces of the street, free and full of fun. Or certain gestures (the boys running from away the police with their bundle of clothes on topof their heads) and dialogues given in the short story that are retained of (one them: "who lights the stars?" asks a boy; "the lamp another lighter," responds). WORKING WITH WORDS: ADAPTATION AND INSPIRATION AND ADAPTATION WORDS: WITH WORKING Some narrative episodes of the taleremained, albeit altered, such as theboys bathing in the river next to the ships, or the nocturnal game of cops and robbers. Other elements When we refer to a work adopted from literature by film, it is common to speak of adapting a text to a visual and sound reality. However, perhaps freedomto emphasizeand distancegreater fromcreative its starting point, Oliveira preferred "inspiredto by a poem" in theuse credits. Thethe change of literaryexpression genre of the writer's work, from short story to poem, facilitates saying that a poetic feeling conveyed by the words of Rodrigues de Freitas than around a direct transpositionof his plot. The various working titles Oliveira thought of for the film - "Millionaire"Little Boys", Hearts", "Little People" enhance - the perception that the final result of this process of working on the literature had moved from away the starting point, moving froman adaptation to a "looser" form of inspiration. as author of the verses of the song te Aniki-Bóbó

Aniki-Bóbó. ANIKI-BÓBÓ , A FILM"INSPIRED" A POEM BY LITERATURE: LITERATURE: ANIKI-BÓBÓ PATHS BETWEEN FORMS ART OTHER PATHS these "millionaire boys who didn’t have a cent", may explain why the director would have have would director the why explain may cent", a have didn’t who boys "millionaire these story to make been inspired by the or nothing. Five years later, the second part, "The Millionaire Boys, the their fear of the night and above all to the children's game and and robbers" is dedicated game of cops Oliveira of district Porto The story. the to title gives that game the playing while shadows childhood theme of the to sensitivity of both well as the as Freitas, de Rodrigues and "Millionaire Boys", was published in two parts in the "Presença, Folha Arte de e Crítica" magazine . The first part, entitled "The Millionaire Boys in the Classroom" dates back to which children learn little school as a sad, closed place with flies, in 1930, and deals with Manoel de Oliveira's first feature film was inspired by a short story written by writer story written by writer first feature film was inspired by a short Manoel de Oliveira's as known became which tale, This (1908-1976). Freitas de Rodrigues João lawyer and were friends of Manoel de Oliveira's circle, resulting in a natural artistic complicity. A "Presença", along with "Orpheu", was one of the most influential Portuguesecentury.It was launched literaryinCoimbra having 54 in1927, issues magazinespublished until of1940, thethe date it ceased twentiethpublication. They included important names in literature such as Branquinho da Fonseca, José Régio, Adolfo Casais Monteiro, Miguel Torga, Aquilino Ribeiro and Alberto de Serpa, credited in boyssing with adults onthe street after leaving school. Atthis level, Serpa, Régio, aswell asRodrigues deFreitas, THE LITERARY ORIGIN OFTHE LITERARY 3 30 IV - CORRESPONDENCES never wrote, going beyond his work. work. his beyond going Camilo wrote, never what filming of that miracle", "minor a achieves Oliveira text, the to fidelity this Despite Portugal. of north the in Viseu, in families rival two to belonging Albuquerque, deTeresa and Botelho Simão of love impossible and tragic the of telling Shakespeare, of love tragic the (1925 resembles -1890). romance This masterpiece the adapts literally which the of example good Família uma de A Memórias Perdição: de etc. Fayette, La mini-series, 1979 his television is filmmaking de Oliveira's in literature of authors importance Madame foreign by Claudel, books Paul also but Dostoevsky, - - Monteiro Branco, Prista Castelo Brandão, Camilo Raul Régio, Queiroz, José de Luís, Eça Bessa Agustina - playwrights and writers Oliveira de (see mentioned already As literature. and film between relationship With things. of astate away denouncing of as society, with relationship their in groups and man social the accompanying in interested especially neorealism literary to opposition in arises aesthetic This awareness. poetic strong a and experience, life his through society of case the (in man of dilemmas the by all above often characterized was This are magazine. literary film, aforementioned Oliveira's de the of Manoel members the among current "presencista", as consequently, known aesthetic an in included and, tale Freitas' de Rodrigues Both LITERARY INFLUENCES to work on in many later films. films. later many in on work to was Oliveira that -something literary the to appeals that artificiality oral of tone a certain maintain inexperience, who, by very their actors turned of children mouths in the words same those of rhythm the or school the in read composition the of words will the rhymes, the street, same the in The sung verses the with communication. questions), Film their (see seen have of we as happen, expression the oral accessing an of also way a but be world, will children's which rhyme, children’s a through highlights chanted, title film’s word the the First, Aniki-Bóbó. in evident is work this of Much Oliveira. de Manoel of cinema the understanding to vital is words on work the outset, the From LITERATURE CINEMA: OLIVEIRA’S INSEPARABLE AND LOVES TWO Aniki-Bóbó ), many works of literature were adapted to the screen. Most, Portuguese Portuguese Most, screen. the to adapted were literature of ), works many Aniki-Bóbó , Manoel de Oliveira's career embarked on a long and challenging challenging and along on embarked career Oliveira's de , Manoel , of "men still in a childlike state") and his capacity for transforming transforming for capacity his and state") achildlike in still "men , of Amor de Perdição de Amor [Love of Perdition: Memories of a Family], aFamily], of Memories Perdition: of [Love Romeo and Juliet and Romeo by Camilo Castelo Branco Author: Manoel by William Amor Amor the way of life of its inhabitants. In particular, the world of children. This dimension is dimension This children. of world the particular, In inhabitants. its of way life of the documents not only the time - the 40’s - but also space - the riverside city of Porto and in how, saw we questions) Film (see film the making in work the to devoted section the In PHOTOGRAPHY: STREET THE ON WORLD THE CAPTURING 1 with common in that, Photographs world. artistic communicative, represent rather, but, Oliveira, de Manoel by adopted influences not are These universe. children's the on centred pictures street have we filmmaker, Portuguese the by film the in detail realistic and energy same the with present Here, compositions. or poses practices, static of mediation the without possible until the century 1970’s, aimed to and the obtain experiences most atmospheres genuine in situations or nineteenth the of end the people from affirmed mainly with photography, of area This areas. public encounters fortuitous capture to purposes, social and/or artistic for seeks, -which photograph street the of –that photography in area an to linked and the horrors of war more clearly than in Oliveira's film. film. Oliveira's in than clearly more war of horrors the and innocence childish between contrast the evoking 1933, in Seville of ruins the in playing are (1908-2004) Cartier-Bresson Henri photographer French to belongs image second York. New The of streets the on drawings chalk with games children's document to decided teacher art and photographer American (1912- Levitt Helen photographer of works 2009), famous most the of one to belongs image first The them. between interaction the and areas rural or urban the with contact the in world, children's the in genuine Aniki-Bóbó In the Street: chalk drawings and messages, New York City 1938-1948 York City New messages, and drawings chalk Street: the In , a realistic layer underlies the poetic and fictional background which which background fictional and poetic the underlies layer , arealistic 4 , one of the great influences of Levitt. A group of children Aof , ofgroup children Levitt. one of the great influences Aniki-Bóbó 2 , have the ability to see the most most the see to ability the , have . In it, the the it, . In 31 IV - CORRESPONDENCES Aniki- we see a comparison of the Manoel de 8 10 with photographstaken by Manuel Roberto, (left) (images 7 - 10) , taken in in 1955 his hometown, something he popularized in 1947, Cartier Bresson,1947, alongphotographerswithin Robert Capa,GeorgeDavidRodger, Gun 2 Aniki-Bóbó : almost years 75 on, the "same children" and "same energy", in magical a space . Five yearsafterFive Seymour and Williamwhose aim Vandivert, was to use photography in founded the contemporary service1952,reality.InCartierthis Bresson theorizes veryimportanta of concept bothphotojournalismfor humanity, the photographer the and which instant, denouncing this had famous events all him, to conflicts According moment". "decisive the photography": and "street Magnum "feeling the pulse" Photos of agency,wouldhave grasp,to fractiona ofsecond a in which both the importance aof the event sortand the precise organization of cooperativeof forms that gave expression to this event met. of photographers 9 Oliveira’s photographic composition Oliveira’s filmmaker’sfuneralthe at river, the by Público"newspaper2015, "O thein editorofphoto (right) that is forever the property of the Portuguese director and the adventures of Bóbó In this, entitled, becomes clear: the "in your face" technique sacrificing of the comfort zone the of those portrayed, in camera search ofan urban realism, of the as a firearm, capable moment. of Finally, in the following images 7 4 project, project, Children of War Evans photograph was taken taken was photograph Evans fourth 4 from became New York, one of the biggest 6 (image 6) (image image an American is authored by Walker photographer Evans (1903-1075), photograph belongs to David Seymour (1911-1956), a Polish photograph photographer belongs to David Seymour (1911-1956), fifth third from UNICEF. Williamfrom UNICEF. Klein (1920), photography. street in names known mainly for his images of the Spanish Civil and War the which, with UNICEF support, portrayed the effects Oxia of the of Second area the World from on War children.removed not child only the Elefteria, 1947, in taken image, this In in Greece during the Greek shows civil her first war (1946-1949), pair of shoes received The 3 5 1930’s. Lewis Hine (1874-1940) was another important name in photography, namely in in namely photography, in name important another was (1874-1940) Hine Lewis 1930’s. denouncing child labour in the United States. The and depictsin 1912 a group of children who spent several hours oyster harvesting before and after school in Port Royal, South Carolina. andother coastal areas. This photograph 1936 comes from the Tingle family of Alabama, one portrayed by Evans, along with writer and critic James Agee, in articlethe on thecontext life of rural workers inof the Deep Southan during the Great Depression of the The who, having worked with Helen Levitt, became noted for documenting the vital movement on the streets, the presence of the police, the life of beggars and workers on the docks 32 IV - CORRESPONDENCES 5 47-48. On this issue see also the article "Aniki-Bóbó, Fábula Humanista" by Tiago Baptista. Baptista. by Tiago Humanista" Fábula "Aniki-Bóbó, article the also see issue this On 47-48. Oliveira.", Cinéma. du Journal "Petit in: found be to is reference This at the2ndInternationalFilmFestivalfor Youth inCannes. In 1961, roughly 20 years later (!), he was selected and awarded the Diploma of Honour 1961 (inFrance,inCannes). Film Festival,beforewinningaprizeatthe2ndInternational Encountersfor Youth in screening at the Porto Film Festival and selection of it for the 1st Edition of the São Paulo eighties, buthiscriticalrehabilitationhadbegunin1954,the dateof Manoel deOliveirawasonlytoberecognizedasatop-rated filmmakerintheearly Oliveira’s most popularfilms. then, the film was only shown for a few weeks. Ironically, today it is considered as one of with themoralconceptsoftimeandpublicreacted acertaincoldness.From Teresinha's room.Loveamong childrenwasanillicitandshockingsubjectthatconflicted serious parts. The problemwasfromthemomentCarlitoswentuponrooftogo well inthefirstpartoffilm,laughingwheretheyshouldlaughandsilentduring with his friend João Bénard da Costa, Manoel de Oliveira tells of how the public behaved "Comercio doPorto",aformerPortuguesenewspaper, inJanuary1943.Inaconversation who demonstrate prodigious capabilities for the cinema". Both references come from the or that described it as "a true poem of tenderness and feeling, played by little boys of Temptations") inthe“firstPortuguesefilmwithactionentirelycityofPorto", highlighted thereappearanceofactorNascimentoFernandes(theowner"Shop subversive andthepublicwasnotverywelcoming,despitesomepublicitycampaignsthat Upon itsPortuguesedebut,themoreconservativecriticsfoundfilmimmoraland cinema Italian Neorealist the by influenced as Oliveira describes Portugal), to a trip see to occasion had only (he film the seen yet not had he though even magazine, Cinema du Cahiers the in published article a small In movement. associate to first the was Bazin André (see neorealism of precursor true the was Visconti’s to that it "prove" not was Luchino his film, possible been have perhaps would it as festival, 1942 Venice the at seen be to this for time in ready acopy have to possible not was it unfortunately how tells Oliveira de Manoel 11 Cinema. João São at January on specifically more 1943, in Porto, in year following Aniki-Bóbó CROSSED POINTS OF VIEW OF CROSSED POINTS RECEPTION THEFILM: OF premiered in Lisbon on December 18, 1942, at the Eden cinema and the the and cinema 18, Eden 1942, the at December on Lisbon in premiered Aniki-Bóbó Contexts with the neorealist cinematographic Cahiers du Cinéma ). In 1957, celebrated French critic critic ). 1957, In French celebrated Douro, Faina Fluvial Faina Douro, Ossessione , No. 75, October 1957,p. October 75, No. , , in 1943, that that 1943, , in Aniki-Bóbó , during during , 5 . 's 's 33 IV - CORRESPONDENCES , December 2013). Cahiers du Cinéma , in a review of the book "Aniki-Bobó Enfants dans la ville" Aniki-Bóbó containing the film plot and planning. ( Mário Jorge Torres,in a monograph on director Manoel de Oliveira (2008). . a monograph on director Torres,in Mário Jorge of a pure and immaculate childhood, which the “New State” could neither understand nor nor understand neither could State” “New the which childhood, immaculate and pure a of value". "Aniki-Bóbó is the crossroads of various influences: the novel by Rodrigues de Freitas, from which the filmmaker adopted general lines (…) and to which he added an intrigue that is sometimes sentimental, sometimes "detective". Mark universe Twain's is also no environment. humble a from coming children on centred learning of story this to stranger (…) His (Oliveira’s) way of that capturing of urban Porto, beauty, the feeling of truth and justice that are extracted externally (…) are a tribute to the filmmaker's hometown. (…) documentaries of his time. " The most beautiful fictions are also the best Ariel Schweitzer on "The attention to the reality of the city, the true protagonist of documented desire and Aniki-Bóbó a touching innocence, the nascent sexuality the childhood love triangle gives - (1992).. (1992). . Aniki-Bóbó Aniki-Bóbó the "Diário Popular" newspaper (1965). Rui Grácio, “Horizonte” Magazine (1943).

Jorge Neves in the Commemorative Catalogue of 50 years of Roberto Nobre, in an article entitled "The Manoel de Oliveira published Case", in José Augusto França in the Commemorative Catalogue of 50 years of Portuguese cinema." cinema." Portuguese "Never has a cinematographic subject been so pure and without ulterior motives. "naive" The side of the documentary structure that governed his shooting, little actors opting to the detriment of plays foreground in favour for of a timelessness images (…), the that places "Aniki-Bóbó" in the eternal gallery assumed by the great masterpiece of quality, in poetic richness. A childish world of secrecy and cruelty lives there, and is redee med lyrically in the first news of love. A doll, awar cry, the kind tendernessFernandes, of half Nascimento a dozen boys, a life that has grown up, and forgetfulness - and Aniki-Bóbó was a beautiful film of longing." "Since then, I have reviewed it three or four times, and from time to time it has increased in cinematographicgood taste and good sense, the delicacy and the subtlety with which it givesusthis childish world framed safevast,andin a very beautiful documentary the of children of humble Porto. "” "In "Aniki-Bóbó", poorly served by an script that did infantilenot reach worldthe poetic it level of intended the to most interpret, original, heand certainly [Oliveira] the most managed audacious of(…) to our fictional make films perhaps besides(…) the passing train." articulated some elements that form part of the psychic experience of boys and life that at age: the boredom of an archaic school (…) fear the mystery of death, of the game of thecops theand ever-new robbersspectacle police, (…), of the legends involving "Manuel de Oliveira has constructed a story of childhood love as a fulcrum and thereby thereby and fulcrum a as love childhood of story a constructed has Oliveira de "Manuel EXCERPTS FROM FILM CRITICS EXCERPTS 34 V – EDUCATIONAL ITINERARIES

BEFORE THE SCREENING AFTER THE SCREENING

WORKING WITH THE POSTERS: Return to the scenes worked on before the projection, • Although many scenes were filmed in the city of Porto, from listening: the city of the film is reinvented in the film; for example, Working from observation of the 3 film posters: Manoel de Oliveira filming on the banks of the Gaia • Were the scenes (you heard about before) just as you now becomes the banks of Porto, but, in the film, it is • What do we imagine about the film plot? imagined? as if it were still the same. Likewise, places that are • What are the main differences between the two scenes? far from each other, often appear as being close or far • How important to the plot are the objects that appear apart in the film. (the "star", the doll, the slate, etc.)? Why does one of (a night full of shadows/a summer day, a rhyme spoken the boys point the finger at the other? by a just one/ a rhyme chanted in chorus, etc.) Do an exercise with photographs, where you construct • What are the differences in terms of composition and • Why does the fight between Carlitos and Eduardito begin a fictional area out of real areas: choose a character aesthetics? Which characters are featured in each of in the scene in which they are to launch the "star"? Why and draw a path that passes through several places does the director film the torn "star", at the end of this them? - in the fiction, these places are contiguous, but in

V - EDUCATIONAL ITINERARIES V - EDUCATIONAL scene, left on the ground? • What does Aniki-Bóbó mean? not reality - they can be very distant (for example, • Draw the layout, indicating where the train line is and a character leaves the classroom and goes to the the place where Carlitos and Eduardo fight; mark the beach), whether it is not possible to reinvent the same location of each character and his movements at the area (for example, the character opens the door to the time of Eduardo's fall. classroom and leads to the school library). WORKING WITH THE IMAGES OF THE LEARNING • Tell, in writing or orally, of the moment of Eduardo's fall NOTEBOOK: • Why do we think this building with stairs, where from the points of view of Teresinha, Carlitos and the Teresinha and the boys expect news on Eduardo, is a shop owner. Show one of the frames of this notebook: hospital? Have we ever been there?

• Describe what you see: Where does the film unfold? • What places do the boys feel free in? Who are the characters? What's the situation? • Discuss whether the place where they live is similar to or different from where this story takes place. • From what you see, imagine the relationships between the characters, the feelings. THE DISCOVERY OF PLACES (THE REAL/FILM CITY)

• Make a list of film locations: house, street, river, school, WORKING WITH SOUND: shop, roofs, field, train line. COMPARE THE REALITY OF THE FILM WITH THE • What scenes will have been filmed on the street (where REALITY OF THE VIEWER: Without showing the images, listen to the two scenes in the director did not control everything that happens in which one hears the "Aniki-Bóbó" rhyme: the scene, at frame)? Review the sequence of the fight on the beach, • Think of the differences between the school of the film night, in which the boys will play cops and robbers, and in silence, and observe what you see in the background. and school today. the daytime scene in which the boys sing and dance Draw attention to the differences (only boys, dunce’s cap, • What scenes will have been filmed in the studio (where until Carlitos and Eduardo begin to fight and Eduardo teacher's podium, etc.) but also to what is similar perhaps, the director can control everything that happens in falls toward the train. (chanting the time’s tables, reading aloud, the globe, etc.). frame plan)? Review the scene in which Carlitos goes over the roof to take the doll to Teresinha and analyse Make a list of the differences and similarities by directly Then ask the students how they imagine the two scenes: how the scenes filmed in the studio (the rooftops) and observing the classroom where they are talking - look Where and when is each scene? What happens in each those filmed in the street (the view of the street from around, as Carlitos does - and then review the school of them? the roof), when placed side by side, by editing, create scene to complete the comparison. the impression that Carlitos is in danger. 35

• How does the shop keeper find out who stole the doll? • Compare the school of Aniki-Bóbó with the school of Try to find out if the students laughed at both scenes? Compare this with the sequence of The Spirit of the V - EDUCATIONAL ITINERARIES Rentrée des Classes. In what ways are they alike? In Why? Have any of these scenes reminded you of other Beehive in which Fernando discovers it was Ana who what ways are they different? films (for example, some from Chaplin)? gave his coat to the fugitive. • Choose frames of the two films with the students, • Who do you think is braver, Eduardo or Carlitos? • Work from the following dialog: to substantiate this characterization, and then take Why? classroom and school photographs. (You can use the "Who lights the stars? / He is the lamp lighter of the film frames as a model, that is, try to repeat the frames • Why does Carlitos steal the doll? What are the feelings sky. / They say that when someone dies, another star (scale, composition, point of view).) this provokes in him? Think of situations where you have is born and that souls are butterflies that fly to heaven. experienced contrary feelings about the same thing. / Ahh,. . so that's why there are so many butterflies in • What do you see from the window of your classroom? cemeteries. /Butterflies? You’ve got butterflies on the What do you hear? What bug could come in, without • Was Carlitos' dream a good dream or a nightmare? brain…/Who knows, maybe Eduardito is on his way to warning, in the middle of a class? Do a filming exercise Why? or, if there are no windows, just capture sound. If this is heaven. / On his way to heaven? Only if he’s riding on not possible, make a drawing on the same theme. • What things does Carlitos dream about? Are they things a broom! Are you not afraid to talk like that? The devil that happened or images of what he feels? Review and might be listening to you. / What the hell? Is there any analyse the dream sequence, the images that comprise it. • When they leave school, where are they going to play? devil? You're dreaming! / Yes, sir, there is. He walks Do you have a special place to meet your friends? At • What dreams could the other characters have had? in the dark, looking for the bad guys. / Have you ever night, do they go out to play in the street? Choose a character and invent a dream. (For example, seen him? / No, but I know that he is just like a very • Make a list of the pranks that appear in the film and Pistarim dreaming of breaking open of the piggy bank, tall man, and very black, with horns, with fire coming find prank-pairs (other rhymes, variations of "cops and the top, steak, diving into the water from the crane, out of his mouth, and only walks at night. When I lie Teresinha dreaming of the doll, with Eduardo and robbers", launching the "star", etc.). down I hide under the sheets, so as not see to him. Carlitos, etc.) Look for images in the film, and others, • In the film, do girls do the same as the boys? Do you to make a collage that represents that dream. Sometimes it seems to me that I feel him grabbing me. think it's the same today? / Uh-Oh! Batatinhas! Batatinhas! There’s the devil there out there! Be careful! " • There is one boy who believes only in what he sees. Who is it? • Does Carlitos also believe in the devil? FEELINGS DIALOGUES AND WORDS • And do we believe that when people die they turn into • Try to find out if there has been any character who • What is the meaning of what is written on Carlitos' bag: butterflies and stars? particularly impressed the students and they felt close "Always follow the right path? Why is the shop in the to? Why? film called "The Shop of Temptations"? • What role do adults play in the film? What is the • Why does Boniface think there's a cat in the shop? relationship of the boys with them? Is any adult allied (There’s cat here!) with the boys? • What does "talk" mean to Eduardo and Teresinha? • What are the strongest feelings in the film? Choose How do we know that does not mean just one, or several, and look for an image in the film in t a l k ? • which this feeling is expressed. Make a list of unknown expressions and words ("Batatinhas", • At the beginning of the film, Carlitos is so distracted "to open the beak", "mass", "drunk", "mouco", "star", that he is almost run over and then bumps against the "lampionista", and think theywould say today in the same police, and into the lamppost. One moment later, Eduardo situation. pushes him and he falls into a pool of mud, and Teresinha, Eduardo and the other boys laugh at him. 36

VISUAL CREDITS

Stills from Manoel de Oliveira's films © NOS/Lusomundo / p. 7: Manoel de Oliveira © Associated Press p. 10: Charles Chaplin, City Lights, 1931 © Costa do Castelo Filmes/ p. 10: Fritz Lang, M - Eine Stadt sucht einen Morder, 1931 © Divisa Home Video/ p. 10: Jean Vigo, Zero de Conduite, 1933 © Gaumont Film Company p. 10: Luchino Visconti, Ossessione, 1943 © Alambique Filmes/ p. 25: Helen Levitt, Children Playing with a Picture Frame, 1940 © Estate of Helen Levitt/ pp. 26, 27: Jacques Rozier, Rentrée des classes, 1956 © CinEd pp. 27, 28: Akis Kaurismäki, Mies vailla menneisyyttä, 2002 © CinEd/ p. 29: oil painting de José Joaquim Rodrigues de Freitas Júnior in Ateneu Comercial do Porto p. 29: Imagem da revista Presença © Presença p. 30: Helen Levitt, In the Street: chalk drawings and messages, New York City, 1938-1948 © Estate of Helen Levitt p. 30: Henri Cartier-Bresson, 1933 © Henri Cartier-Bresson/ p. 31: Walker Evans, Let Us Now Praise Famous Men, 1940 © Houghton Mifflin/ p. 31: William Klein, Petri Cleaners, New York, 1955 © William Klein p. 31: Manuel Roberto, photographies in jornal O Público, 2015.

COPYRIGHT

CinEd / Institut Français / Os Filhos de Lumière This pedagogical booklet is dedicated exclusively to non-commercial purposes. It may not be used in part or in full for any financial benefit, under penalty of being prosecuted. CinEd is a European Cooperation Program for Education to the European Cinema.

CINED.EU: DIGITAL PLATFORM CinEd is co-funded by the European Union’s Creative Europe / MEDIA program. DEDICATED TO EUROPEAN CINEMA EDUCATION

CinEd proposes : • A multilingual platform, accessible free of charge in 45 European countries, to organise non-commercial public screenings • A collection of European films for ages 6 to 19 • Teaching materials to introduce and accompany the screenings: booklet on the film, pedagogical suggestions for the facilitator/teacher, worksheet for a young audience, educational videos for comparative analysis of film excerpts