Mysteries of Lisbon

MYSTERIES OF LISBON is a staggeringly immense epic, weaving together multiple narratives of operatic passion and desire into a broader memory-narrative patchwork. The late Raul Ruiz draws upon great predecessors to set the visual tone (there's plenty of Visconti's THE LEOPARD and Kubrick's BARRY LYNDON here), but then toys with the aesthetic by adding playfully surreal touches, so that the events seem perched on the edge of a dream. By design, it's all a bit messy, one narrative tumbling into the other, but Ruiz displays such complete mastery of the medium that MYSTERIES OF LISBON remains gripping, even over the course of its four-hour running time.

The word "masterpiece" is fairly overused, and as a result, devalued, but MYSTERIES OF LISBON is the real thing.

It's almost a miracle to find a film like this one in theaters nowadays. An exceptional rarity, something that reminds you that cinema like this can still be achieved. Being a period piece, and with almost 5 hours of runtime (the 15-minute intermission included), it defies almost every convention of commercial cinema. And it doesn't drag one bit; every minute of the film is required, and while it absorbs you and doesn't let go, you feel grateful for it… For those magical hours of hypnotic escapism.

"Mysteries of Lisbon" is en epic, mesmerizing adaptation of the homonym novel by Camilo Castelo Branco. It tells a series of interconnected stories set mostly in 19th century Lisbon, although the main plot is pretty much unique. In any case, the way each story leads to the other and how it all comes together towards the end is brilliant. The two main characters are Pedro da Silva and Padre Dinis; a priest and an orphan destined to form a close bond. But all characters are carefully fleshed out; apart from those two, Ângela de Lima (Pedro's mother) or Alberto de Magalhães, among others, stand out. It is the film's purpose to explore the enigmatic nature of most of these people, leaving them and coming back to them with deeply measured fluency, bringing forward through the set occasional details of their personality, frequently using voice-overs to convey their inner thoughts while staying faithful to the literary source material.

This last idea is also present in how much the act of observation matters in this film. In a great number of scenes, a lesser character is either listening to what is happening or watching that given scene from a distance, thus often adopting the viewer's external point of view. This objective is made clear through the miniaturist theater that Pedro receives as a present from his mother, a toy that Ruiz goes back to on several occasions to mark the transition between a scene and the next. It is a beautiful little trick and, in some way, it provides part of the film's complexity. This complexity is reinforced by a few ambiguous notes, some surrealist touches and of course the multiple layers of the plot.

Another remarkable aspect is the use of clear-cut sequence shots for the majority of scenes, each of those shots more impressive than the other. The film has therefore very few close-ups, something that would also contribute to create a certain distance with the viewer. Only in a couple of situations (usually of lesser significance) does Ruiz go back to a more orthodox way of shooting. But those delightfully crafted sequence shots give the film an extraordinary, almost intoxicating energy, especially when they are accompanied by the film's haunting score. That way, every shot is a wonder in terms of composition, but also as far as the lighting is concerned. Just a few marvelous examples would be the scene at the opera hall or when Alberto de Magalhães confronts another man while Padre Dinis is traveling in the calash. Indeed, this must be one of the most striking films I've had the chance to see on the big screen.

On the whole, this is a moving, tragic and awe-inspiring masterpiece. A feast for the senses, and an immediate entry in my top 50. *****

Stylish and atmospheric costume drama.

The action takes us to Lisbon in the 19th century, where the fates, life and stories of several people are intertwined.

We have see the film of the cult Chilean director Raul Ruiz, who entire of conscious life make many author movies, for connoisseurs and aesthetes, with hidden meaning, filled with surreal and absurd images, but in his old age decided to aim at the adaptation of the historical adventure novel Castelo Branco, called Portuguese Balzac .

The film's action develops slowly and thoroughly, gradually dragging you into this whirlpool consisting of secrets, intrigues and fateful coincidences, adventures, violent passions, terrible revenge and insane love. And so minute by minute there is a complete immersion in the picture, because the secrets are always intriguing ...

It should be noted that the action in the film develops over several decades and covers a large number of characters and peoples (almost like G. G. Marquez), where almost every character has its own confusing story and secret, hidden very far away, which we will be told and revealed in the course of the film, hence the actual length of the film, divided into two parts.

I highly recommend to view. 9 out of 10.

Mysteries of Lisbon in my view is utterly mesmerising, and one of those rare cases where there is no bad thing about it. As an adaptation of the novel, it succeeds wonderfully, on its own terms it is even more impressive. Mysteries of Lisbon may be lengthy at just over four and a half hours. But because everything was so well done, there was not a single moment where I was not transfixed.

On a visual standpoint, Mysteries of Lisbon looks amazing. The photography is gorgeous complete with beautiful-looking scenery and costumes, while there is an atmospheric and striking colour palette. The music does a fine job in conveying the mood of each scene, with not one scene feeling musically out of place.

Mysteries of Lisbon also benefits from a brilliant story. There are several story lines developed (very well) and incorporated throughout, but the main crux of the story told here is so unique and compelling it drew me in immediately. The script is of exceptional quality, often very moving, literate and thoughtful, while the characters have a complexity while being intriguing as well.

When it comes to the acting, there is not a single bad performance, Luz especially in the lead is fantastic. And throughout the direction is superb. Overall, this is mesmerising and highly recommended. 10/10 Bethany Cox

At four and one-half hours, this is the longest movie I have seen in quite some time. The length will most definitely detract many (as would the costumes and subtitles) from ever sitting down to view this; but I think those with patience and appreciation of "epic"/sweeping storytelling might like this one.

This is the story of Joao, a young orphaned boy (he discovers he's actually a bastard as the story unfolds) living in a Catholic orphanage under the watchful, caring eye of Father Denis. Joao learns of his parentage and where they came from and their circumstances ... and as those stories unfold we learn of different characters in THOSE stories as well.

The film spirals and sweeps and sways with several tangents and characters; but I found it all interesting and actually wanted to continue watching. That each of the stories intertwine and circle each other is part of the "mystery" of the title and parts of the film act and feel as if the entire production is a dream.

It is lovely to look at (gorgeous costumes and sets) and each of the characters has a revelation that continues the "mystery" and the intrigue and drama. The story travels from the streets of Lisbon to Venice to France to Tunis and to Brazil ... it is SWEEPING on a grand-scale as it also spans three decades.

Based on the late author, Camilo Castelo Branco's (who shot himself at the age of 70 b/c he was going blind) novel of the same name, Chilean director Raoul Ruiz has given us his final film (it is masterful) as he died shortly before the film began screening. That it is all so tragic and doomed and romantic is fitting ... as that is exactly what the movie gives its viewer.

I know none of my friends will give this one a shot ... it does require patience. But it is a beauty.