O Cerco
| Movie | |
|---|---|
| Original title | O Cerco |
| Country of production | Portugal |
| original language | Portuguese |
| Publishing year | 1970 |
| length | 112 minutes |
| Rod | |
| Director | Antonio da Cunha Telles |
| script | Antonio da Cunha Telles |
| production | Virgílio Correia , Cinenovo Filmes |
| music | Antonio Victorino de Almeida |
| camera | Acácio de Almeida |
| cut | Antonio da Cunha Telles |
| occupation | |
| |
O Cerco (dt .: "The encirclement") is a Portuguese film director Antonio da Cunha Telles of 1970 . It is considered a main film of the Novo Cinema .
action
Maria Cabral in O Cerco
|
Marta is a young woman in Lisbon at the end of the 1960s who has just separated from her husband and is trying to build an independent life. She took a job as a model in an advertising agency and met different men as a result. As she continues to experience financial difficulties, she develops a confidential friendship with Vítor Lopes, who is involved in dubious business transactions. When he is found murdered, she has a remorse and wonders if she was complicit in having carelessly revealed Vítor's place of residence. In the end, she is left alone in her search for a fulfilling life in the midst of male-dominated society.
reception
The film attracted criticism when it screened at the Cannes Film Festival . It became the most successful work of the Novo Cinema economically and also ran in France on a commercial basis. The portrayal of the modern woman striving for independence corresponded to the zeitgeist, as did the outward appearance and demeanor of the leading actress. The smoking, short-haired and dreamily self-confident, pretty Maria Cabral graced the covers of magazines in Portugal and France after the film.
O Cerco means roughly "the encirclement" in German. The film shows a Portugal caught between the dawn of modernity and clinging to traditional social structures. The social climate of insecurity in Portugal at the end of the 1960s is also reflected in the film: the country's colonial war was against history and international criticism. It was stuck in the clutches of its own history and the propaganda of the repressive Estado Novo regime. Portugal stood between the fronts of the Cold War and on the verge of general social progress in Europe. But in addition to this subdued, unexplained mood, the prosperity and the ruthless excess of the upper class of society and the economic problems of the rest of the majority are shown here. The observing camera conveys a calm atmosphere that leaves feelings and thoughts visibly unspoken. Even in scenes of the exuberant urban nightlife, Marta in particular shows a subliminal uncertainty and an inward-looking world of thought, with all the style in the nightclubs and the ostensibly simple communication.
While some films of the "Novo Cinema" only gradually gained greater importance, such as Belarmino or Pedro Só , O Cerco was unable to underpin the greatness originally given to him over the years, as was Maria Cabral's hopes for an important actress afterwards could meet. But the effect that the film had at a time when the new Portuguese film threatened to wane in its developed vigor is undisputed. The Novo Cinema then received a new impetus thanks to the commitment of the state film subsidy (today's ICA ) and the new film collective Centro Português de Cinema . O Cerco played an important role in maintaining perspective for the filmmakers of the "Novo Cinemas"
literature
- Jorge Leitão Ramos : “Dicionário do cinema portugués 1962–1988” Editorial Caminho, Lisbon 1989 ISBN 972-21-0446-2
- A.Murtinheira / I.Metzeltin: "History of Portuguese Cinema" Praesens Verlag, Vienna 2010 ISBN 978-3-7069-0590-9
Web links
- O Cerco in the Internet Movie Database (English)
- TV report about the pre-premiere of the film in Paris in 1969
- Trailer 1969
See also
Individual evidence
- ↑ http://www.imdb.com/title/tt0064144/plotsummary
- ↑ Archived copy ( memento of the original from July 1, 2011 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.
- ↑ A.Murtinheira / I.Metzeltin: History of Portuguese cinema Praesens Verlag, Vienna 2010, page 97f
- ↑ Archived copy ( memento of the original from July 1, 2011 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.
- ↑ Jorge Leitão Ramos “Dicionário do cinema portugués 1962–1988” 1st edition, Editorial Caminho, Lisbon 1989, page 92f
