Os Verdes Anos

For all that they show of the city of Lisbon, the filmmakers reveal little about the characters. We hear talk about how difficult city life is for those coming from the country, but we don't actually see it. In the second half of the film, the lead male character has a sudden change of attitude and behavior that seemingly comes out of nowhere and is never explained. And the ending comes from even farther afield and is an insult to the viewer. Yes, the the cinematography is beautiful, but there's nothing there there. Considering the hype, this was a big disappointment.

You mustn't miss "Verdes Anos" performed by legendary Portuguese guitarist Carlos Paredes. The sounds will express way better the intent of this film than my words could. There is a mystery that needs to be fully accepted if you are going to enjoy this film.

I quite like the vague, blurred sense of the characters. I disagree with some of the other reviewers, as I think that we don't always need clear psychological traits and intentions: after all, life is just as hard to pin as the people in this film. There will be a lot of melancholy and time warps. Lisbon is delightfully colourful, but in this film it is austere.

Now that's beautiful filmmaking. The words "cinematography" don't do justice to the visual splendour on show here. It's not just that the shots are well-composed and the locations beautiful (we see some of Lisbon's abundant architectural and natural beauty) --there's a sense of atmosphere that pervades the whole film and makes every shot feel emotional, meaningful. The pace is leisurely, just right, and along with the low-key story helps us soak it all in. I also have to nod towards the beautiful string accompaniment, never intrusive but always lovely.

But the ending... (I promise no spoilers). I was willing to go along with the story, which is a bit thin but works great as a pretext for the visuals and atmosphere. But we never really understand the characters. We just see them go on with their lives. The ending just seems to come out of nowhere in a totally gratuitous way. It's the kind of thing that leaves a bad taste in my mouth, lowers my opinion of the people behind the camera, and makes it hard for me to recommend it to others without reservations. But all the same, it's a beautiful little neorealist gem.

This 1963 Portuguese tragic romance was the debut feature film of director Paulo Rocha. It tells the story of 19 year old Julio (Rui Gomes) who comes from rural Portugal to Lisbon to work as a shoemaker and falls for a young maid called Ilda (Isabel Ruth). It looks like a story of young love, but jealousy and the city have other plans. As scripted by Rocha and Nuno Braganca this film (one of the key Portuguese films of the 1960s) tackles issues of class, jealousy, and the pitfalls of urbanity (especially for a young greenhorn from the countryside), has vaguely operatic qualities, and lots of black and white cinematography of Lisbon (including it's modern apartment blocks), as the lovers wander around Lisbon together to an insistent twanging guitar score, through to the surprise climax. The unofficial 'fashion show' where Ilda wears madam's clothes is amusing, and the title comes from a song featured in the film.

An example of good works can be made with small means. In conversations with the director, I have learned that this movie was made with the smallest means available, by the smallest crew available, but gave the world an unique vision. It was a time of change in portuguese cinema, and this one started that time. It was for me a great honor to be able to speak with the man that made it possible, and it was also a true inspiration for times to come. This movie is a great example of how great movies can be made with little money, but great effort. For that, everyone involved in its making are to be commended by the revolution they caused. >