Augusto Fraga

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Augusto Fraga (born September 18, 1910 in Lisbon , † January 6, 2000 there ) was a Portuguese director, actor, screenwriter and film critic.

Life

Augusto Fraga was a journalist and wrote about cinema from the 1930s to 1940s for the film magazines Imagem , Animatógrafo , and especially Cinéfilo , of which he was director in 1938/39. In 1935 he switched to the active side of the film for the first time, as an assistant in the editing of José Leitão de Barros ' film As Pupilas do Senhor Reitor . He also assisted in the editing of O Trevo de Quatro Folhas (1936), by Chianca de Garcia , with whom he then wrote the script for his A Rosa do Adro (1938).

In 1940 he made his first film, a short film ordered by the Propaganda Secretariat (Secretariado da Propaganda Nacional, SPN) of the Estado Novo regime as part of Portugal's 800th anniversary. After he limited himself to his activity as a journalist for some time, he returned to film in 1947. He shot a series of music scenes, including Fado songs by Amália Rodrigues , which had become popular on the radio. In the same year Fraga began acting as an actor.

He assisted the former UFA actor Arthur Duarte in 1952 for A Garça ea Serpente and in 1956 for O Noivo das Caldas , also for Perdigão Queirogas Os Três da Vida Airada (1956), and in Henrique Campos ' films Duas Causas (1952) and Rosa de Alfama (1953). In 1958 he made his first full-length feature film. Sangue Toureiro was the first color film in Portuguese cinemas and featured Amália Rodrigues and the then popular bullfighter Diamantino Viseu in the lead roles, and the popular comedian Raul Solnado in a supporting role. Nevertheless, he was denied success, due to the weak script and the emergence of state television of the Rádio e Televisão de Portugal since 1957 . A number of documentaries and feature films followed, including one of his greatest successes, Uma Hora de Amor (1964), in which the then particularly popular singer António Calvário played and the equally popular singer Madalena Iglésias . With this film, Fraga ensured a box-office success in the midst of the crisis in Portuguese film triggered by outdated concepts and the emergence of television .

He then limited himself to his journalistic profession again and turned only a little. After the Carnation Revolution he did not go public again until 1976, as the author of numerous entertainment stage plays for the revue theater Teatro Maria Vitória , which he wrote well into the 1980s.

reception

Fraga belonged to the series of directors, sometimes referred to by critics as the "lost generation", who only began to shoot after the success of the Portuguese entertainment film of the 1930s and 1940s, and who found no reference to the subsequent Novo Cinema of the young, rebellious directors from 1962 onwards . Fragas' work remained insignificant for the critics and only partially met with approval from the public.

Filmography

Director

  • 1940: Portugal, Oito Séculos de História
  • 1947: Fado do Emigrante
  • 1957: Paisagem Atlântica
  • 1958: Prisões de Vidro
  • 1958: Sangue Toureiro (also screenplay)
  • 1958: O Tarzan do 5 ° Esquerdo (also screenplay)
  • 1960: Terra Mãe
  • 1960: Terra Ardente
  • 1960: O Passarinho da Ribeira (also producer)
  • 1961: Angola
  • 1961: Raça
  • 1962: Around Dia de Vida
  • 1964: ABC a Preto e Branco
  • 1964: Uma Hora de Amor
  • 1965: Vinte E Nove Irmãos
  • 1966: A Voz do Sangue (also screenplay)
  • 1970: As Ilhas do Meio do Mundo
  • 1971: Traição Inverosímil

actor

literature

Web links

Individual evidence

  1. - ( Memento of the original from October 16, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / cinema.sapo.pt
  2. ^ Jorge Leitão Ramos: Dicionário do Cinema Português 1962–1988 , 1st edition, Editorial Caminho, Lisbon 1989, page 162
  3. ^ Jorge Leitão Ramos: Dicionário do Cinema Português 1962–1988 , 1st edition, Editorial Caminho, Lisbon 1989, page 162