But even that hurdle can be leapt. Fernando F. Croce . Mysteries of Lisbon – review Four-and-a-half hours of ambiguous, interweaving fictions fly by in the expert hands of veteran director Raúl Ruiz Philip French . It was characteristically described by Ruiz as "a phantasmagoria in the manner of Arthur Schnitzler" and, interestingly, in view of Scorsese's Hugo, features a meeting between Klimt and the movie pioneer Georges Méliès at the 1900 World Exposition in Paris. IMDb, the world's most popular and authoritative source for movie, TV and celebrity content. He's tended by nuns and visited by a handsome woman of aristocratic mien who is introduced as his mother. Our lives, the film implies, are tales interwoven with the autobiographical narratives of others, many of them strangers to us. Is Pedro the ultimate unreliable narrator, the inventor of himself and his own life? Photo: Music Box Films. What is left is the sheer joy of storytelling, and willing audiences will find themselves caught up in a what-happens-next page-turner of a film. THE FILM: Please Note: The images used here are promotional stills and are not taken from the Blu-ray edition under review. A thug employed by João/Pedro's vindictive grandfather recreates himself as a pirate and slave-trader in Brazil before using his wealth as a patron of the arts and the boy's secret benefactor. Ruiz clearly enjoys playing with his characters and often compares them to theater puppets. Previous Next Hide Grid. The challenge of the film isn’t especially following what’s going on from moment to moment, but figuring out the relationships, both literal and thematic, between its Matrioshka doll episodes. Characters return in totally unexpected guises, cutthroats become noblemen and noblemen beggars. In a last great burst of creativity, he gave us Mysteries of Lisbon, and here it is – all 4½ hours of it – reminding us of Ruiz’s gifts with light and colour, his ambitions with narrative, his sometimes interesting, sometimes frustrating remoteness, and his preoccupations with myth, the avant-garde and 19th-century classicism, all at once. Editor: Valeria Sarmiento, Carlos Madaleno Previous Next Show Grid. Later, Father Dinis uses the wooden ball during an emblematic lesson about Galileo and the forces of attraction. Operatic and droll, the film wears its period compositions and magisterial length lightly. 10 years ago. It seems to end with his schooldays, and Ruiz leaves us with a puzzling thought that some people may object to as an ambiguity too far. Venue: San Sebastian Film Festival (In Competition) Privacy | Director of photography: Andre Szankowski For its use of sunlight and candlelight – often simultaneously – and lavish variations on a celadon colour palette, it’s certainly one of the loveliest films ever shot digitally, full of shots you could freeze-frame and look at for hours. First published on Sat 10 Dec 2011 19.05 EST. "Mysteries of Lisbon" takes the viewer on an imaginative voyage that is at once literary, theatrical and cinematic. 3. Sat 10 Dec 2011 19.05 EST Dinis's father, for instance, turns out to be a rich, aristocratic libertine who first becomes a reformed character through a selfless love and then a monk, seeking not redemption but oblivion. He starts life as a boy (Joao Luiz Arrais) with no name, raised in a boarding school by the good Father Dinis (Adriano Luz), a worldly-wise man who gradually tells him he's the illegitimate son of the Countess of Santa Barbara (Maria Joao Bastos.). And it is a child's theater set that Pedro carries with him wherever he goes, even to the ends of the earth in the melancholy, haunting finale. 10:32 PM PDT 10/14/2010 14-year-old João (João Luís Arrais), who’s in boarding school, and apparently an orphan, until he’s injured and confined to bed, at which point his mother Ângela (Maria João Bastos) appears – her name perhaps a clue of sorts – and presents him with the pop-up diorama of a theatre. Published. Sadly his work has been regarded as too obscure or avant-garde for British audiences and only a handful of his 100 or more pictures have been released here. Produced by Paulo Branco, who also made Time Regained and many of Manoel de Oliveira's auteur costumers (another reference point), the film was interrupted by Ruiz's struggle with liver cancer, from which he miraculously recovered to finish the shooting. Producer: Paulo Branco Image . Andre Szankowski's sumptuous cinematography works with Isabel Branco's aristocratic set design to capture the aesthetics of the Napoleonic era, particularly in the magnificent frescoed interiors of the age, which recount still other dramas. The storytelling is soap-operatic, and somehow intentionally wispy – it vanishes piecemeal from your head, leaving an assortment of moods and images, such as the duel we see staged through the window of a horse-drawn cart, or an intense marital discussion conducted under a heavy gilt table, just for the hell of it. ‘Mysteries of Lisbon’ is Chilean director Raoul Ruiz’s mellifluous, flashback-driven melodrama in two parts which was his penultimate completed film before he d The most recent was the ambitious, enigmatic Klimt, shown here in 2007, starring John Malkovich as the Austrian painter. Audio . Adding to the difficulty of remembering a long cast of characters, who fade in and out of the story, is the fact that many of them change identities in the course of the film and turn up with new names and new actors playing the role.
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