Aniki-Bóbó Manoel De Oliveira
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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 filmmaker p.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.