Uma Abelha na Chuva
| Movie | |
|---|---|
| Original title | Uma Abelha na Chuva |
| Country of production | Portugal |
| original language | Portuguese |
| Publishing year | 1972 |
| length | 65 minutes |
| Rod | |
| Director | Fernando Lopes |
| script | Fernando Lopes, Carlos de Oliveira |
| production | Fernando Matos Silva |
| music | Manuel Jorge Veloso |
| camera | Manuel Costa e Silva |
| cut | Fernando Lopes |
| occupation | |
| |
Uma Abelha na Chuva (Eng: "A bee in the rain") is a black and white film by the director Fernando Lopes from 1972. It is the adaptation of the neorealistic novel of the same name by Carlos de Oliveira from 1953 and is one of the main works of new Portuguese film , the Novo Cinema .
action
The film focuses on the marriage of a couple from the country bourgeoisie in their mansion, which is marked by jealousy, loneliness and humiliation . The sometimes laboriously suppressed and sometimes dramatically erupting entanglements of feelings, dependencies and a declining, old hierarchy are shown, based on the couple, but also their subordinates. Less of a narrated story with an arc of suspense, the film is more of a description of the situation that goes deeper and more and more details
reception
The film was made in collaboration between the director and the author and only uses the neorealist template in terms of content and not verbatim and comprehensively. The film itself is not a neo-realistic work either. On the contrary, his film language is characterized by abstraction . Scenes are shown that remain silent or are accompanied by a strange sound, scenes with different sounds are repeated or they end in still images. From the interplay of the images with the sounds, which sometimes convey the inner world of emotions and sometimes the external events, the viewer gradually recognizes the reasons and the nature of the conflicts. The long, observing shots leave room for reflection . They let the images come into their own and allow the observer to better understand the people and their actions. The aesthetics of the haunting images and settings are based on poetry and painting.
The mood of the film is depressed, despite the calm and composed resignation of the people, there are repeated outbreaks of verbal and physical violence, sometimes dramatic. The film shows on the one hand the past lifestyle of the manor house and the surrounding poverty of the workers, on the other hand the decadent aristocracy and their inability to break free from their traditional hierarchies and to find a human coexistence. The film critics recognized here a criticism of the repressive Estado Novo regime in Portugal, which closes itself off to a new, more humane society and clings to traditional conditions. Struggling to keep the oncoming modernity in check, and caught in colonial war and its own historical propaganda, the repressive ruled Portugal cannot reconcile its traditional external rules and internal emotional worlds and current needs. The cut, the precisely drawn contours of the black-and-white images and the pointed tone were cited by the critics as the means of this film to convey these connections emphatically despite the censorship. The theatrical achievements of the two main actors, Laura Soveral and João Guedes , were also highlighted, as they vividly illustrate the problem of inadequate interpersonal communication and its consequences.
The film is still considered to be an exceptionally successful example of film art in Portugal.
literature
- Jorge Leitão Ramos : Dicionário do Cinema Português 1962–1988. Editorial Caminho, Lisbon 1989, ISBN 972-21-0446-2 .
- Alcides Murtinheira, Igor Metzeltin: History of Portuguese Cinema. Praesens Verlag, Vienna 2010, ISBN 978-3-7069-0590-9 .
Web links
- Uma Abelha na Chuva in the Internet Movie Database (English)
- Opening sequence of the film
See also
Individual evidence
- ↑ las.utoronto.ca
- ^ Alcides Murtinheira, Igor Metzeltin: History of the Portuguese cinema. Praesens Verlag, Vienna 2010, p. 99f.
- ^ Bonus material from the DVD edition of the film, Lusomundo 2002.
- ^ Alcides Murtinheira, Igor Metzeltin: History of the Portuguese cinema. Praesens Verlag, Vienna 2010, p. 99f.
- ↑ amordeperdicao.pt ( Memento of the original from April 18, 2012 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 Português 1962–1988. Editorial Caminho, Lisbon 1989, p. 20.
- ↑ dclatinfilm.org ( Memento of the original from October 21, 2009 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.
