Arthur Duarte

from Wikipedia, the free encyclopedia

Arthur de Jesus Pinto Pacheco Duarte (born October 17, 1895 in Lisbon , † August 22, 1982 ibid) was a Portuguese actor and film director .

Life and career

He began as a theater actor in 1918 with Companhia Rosas & Brazão . In 1921 his film career began with a role in A morgadinha de Vale Flor by Ernesto de Albuquerque . This was followed in 1922 roles in O Primo Basílio (Eng: "Cousin Basilio") by George Pallu , As Pupilas do Senhor Reitor ("The Pupils of the Lord Rector") by Maurice Mariaud , and Sereia de Pedra ("The Stone Virgin") by Roger Lion .

In 1923 he played in Lions' Os olhos da Alma ("The eyes of the soul"). The film premiered in Paris in 1924, where Duarte had lived since 1923. There he worked as a film buyer for the Portuguese film company Castello-Lopes and as an artist agent for the Lisbon Casino Maxim's .

In 1927 he went to Germany and signed as an actor with the UFA . There he played in around 50 films, mostly supporting roles such as in Asphalt (1929) alongside Gustav Fröhlich , Hans Albers , and Paul Hörbiger . During this time he also acquired his first technical knowledge as a production assistant.

Arthur Duarte returned to Portugal in 1933. In 1934 he was assistant director for Gado Bravo (“Wildes Vieh”) by Max Nosseck . He had already played with Nosseck in 1930 in Fräulein Lausbub by Erich Schönfelder .

In 1936 he was assistant director on Bocage , the film by Leitão de Barros about the poet Bocage . The next year he was production manager at Chianca de Garcia's A Rosa do Adro , and in 1938 he directed the first self-directed film, Os Fidalgos da Casa Mourisca (a remake of the international success of the 1920 Invicta film of the same name ).

After a stay in the USA, he worked on other films again, such as A Veranda dos Rouxinóis (“The Nightingale Balcony”) by Leitão de Barros, João Ratão by Jorge Brum do Canto , and Feitiço do Império (“The Magic of the Empire “) By António Lopes Ribeiro .

In 1941 he took on a role in O Pai Tirano ("The Tyrannical Father") by Lopes Ribeiro, and a year later he was production manager in his Ala Arriba ( Coppa Mussolini at the Venice Film Festival in 1942).

In 1943 he made his first comedy, the film O Costa do Castelo , which is still popular today . This was followed by A Menina da Rádio (“The girl from the radio”, 1944), O Leão da Estrela (“The lion from the Estrela district”, 1947), O Grande Elias (“The great Elias”, 1950). Between 1943 and 1960 he made twelve films, five of which were Portuguese-Spanish co-productions (including 1946 É Perigoso Debruçar-se , “Don't lean out”).

At the end of the 1950s, the era of popular entertainment films in Portugal came to an end, and with it the recipe for success of director Arthur Duarte. He went to Brazil from 1960 to 1965, where he only produced two films. His last film for the time being, the Portuguese-Spanish-Brazilian co-production Encontro com a morte (“A Meeting with Death”) from 1965, was banned in Portugal by the censorship of the Estado Novo .

In the German-Swiss production Ein Käfer gives full throttle , Arthur Duarte then appeared as an actor in 1972, and again in 1973 in the Brazilian film O Rapto no Ascensor (“The kidnapping in the elevator”) by Stefan Wohl. He also played theater again in O Ovo ("The Egg", 1973 in the Lisbon Theater Villaret).

It was not until after the Carnation Revolution in 1974 and the end of the dictatorship in Portugal that he made his last film, Recompensa, in 1979, funded by the Portuguese Film Institute (now ICA ) and ignored by the criticism. Before that he shot with Raul Solnado Aventuras de Detetive Português ("Adventures of a Portuguese Detective", 1975), based on a script by Ruy Guerra a . a.

He died in Lisbon in 1982.


His strengths were the craft and his feeling for the broad taste, which became clear in his great successes with the public. Despite his international experience and lifelong cinematic activities, he received no comparable recognition from the critics, neither as an actor nor as a director. He had no relation to Novo Cinema . He immortalized himself primarily through his comedies of the 1940s, which are still extremely popular in Portugal.



  • 1923: O Castelo de Chocolate
  • 1938: Os Fidalgos da Casa Mourisca
  • 1942: Férias à Beira-Mar
  • 1943: O Costa do Castelo
  • 1944: A Menina da Rádio
  • 1946: Es peligroso asomarse al exterior
  • 1947: El huésped del cuarto number 13
  • 1947: O Leão da Estrela
  • 1949: ¡Fuego!
  • 1950: O Grande Elias
  • 1952: A Garça ea Serpente
  • 1955: Nubes de verano
  • 1956: O Noivo das Caldas
  • 1957: Roma Portuguesa
  • 1957: Dois Dias no Paraíso
  • 1960: Encontro com a Vida
  • 1961: Barqueiros do Douro
  • 1965: Encontro com a Morte
  • 1979: A Recompensa


Literature evidence

Web links

See also

Individual evidence