Um Filme Falado (2003)

Director:

Manoel de Oliveira

Writer:

Manoel de Oliveira (scenario and dialogue)

Release Date:

15 October 2003 (France)

Genre:

Drama | Comedy

Plot:

A meditation on civilization. July, 2001: friends wave as a cruise ship departs Lisbon for Mediterranean ports and the Indian Ocean...

Plot Keywords:

Captain | Ocean | Cruise | Mediterranean | Vacation

Awards:

1 win & 1 nomination

Cast

Leonor Silveira	...	Rosa Maria
Filipa de Almeida	...	Maria Joana
John Malkovich	...	Comandante John Walesa
Catherine Deneuve	...	Delfina
Stefania Sandrelli	...	Francesca
Irene Papas	...	Helena
Luís Miguel Cintra	...	Actor Português
Michel Lubrano di Sbaraglione	...	Pescador
François Da Silva	...	Cliente do Pescador
Nikos Hatzopoulos	...	Padre Ortodoxo
Antònio Ferraiolo	...	Cicerone Pompeia
Alparslan Salt	...	Cicerone Museu de Santa Sophia
Ricardo Trêpa	...	Oficial
David Cardoso	...	Oficial
Júlia Buisel	...	Amiga de Delfina

Also Known As:

A Talking Picture (International: English title)
Un film parlé (France)
Un film parlato (Italy)

Runtime:

96 min

Country:

Portugal | France | Italy

Language:

Portuguese | French | Italian | English | Greek

Color:

Color

Sound Mix:

Dolby Digital

Certification:

Brazil:12 | Portugal:M/12

Filming Locations:

Athens, Greece

Company:

Madragoa Filmes

A Mediterranean Tour

A Talking Picture winds through the Mediterranean world at the leisurely pace of a tourist, taking in the sights, basking in the glow of civilization and its glories. Its director, Manoel de Oliveira, is not concerned with incident, with plot - he's concerned with ideas, with conversation. His movie is not called A Talking Picture for nothing; it is full of talking, some worth listening to and some not. Most of the worthwhile verbiage comes from a character named Rosa Maria (Leonor Silveira), a Portuguese history professor on a cruise with her young daughter (Filipa de Almeida). The mother-and-daughter are de Oliveira's device for presenting his ideas - the daughter asks elementary questions and the mother answers them, and through this simple back-and-forth, occasionally joined by other characters, de Oliveira creates the educational narration to go with his slide-show of the important sites of the extended Mediterranean world - Pompeii, The Acropolis, St. Sophia's, the Pyramids. Or maybe educational isn't the right word. De Oliveira doesn't seem as interested in informing us as he is in reminding us. The film doesn't take on any more of a professorial air than Rosa Maria does; Rosa Maria doesn't make lofty pronouncements and neither does the movie. The director's purpose is to share his appreciation for the myths, the legends, the monuments of Western Civilization, and he does so with the right kind of humbleness. It's only as the film reaches its climax that we begin to realize how darkened by uncertainty, even foreboding, de Oliveira's view of things is.

The film veers away from its pleasing, leisurely travelogue structure in the later passages, focusing instead on a group of rich, famous women entertaining, and being entertained by, the (presumably) charming ship's captain, played by the smug John Malkovich. It's here that some of the movie's charm falls away and it begins smelling of pompousness: the rich women all sit around chattering about themselves, making political observations, acting as mouthpieces for de Oliveira. The movie's whole sense of space becomes strangled in the ship's dining room; the expansive Mediterranean vistas are replaced by simply staged shots of Malkovich, Catherine Deneuve, Irene Papas and the Italian actress Stefania Sandrelli all sitting at the table being very witty (at least they think they are). The picture is saved in the end by Papas, whose character sings a lovely old Greek folk song, a song whose sad, simple melody seems a perfect ode to the civilization whose passing de Oliveira already seems in the process of mourning. Forces are at work to destroy the world de Oliveira loves: it's suddenly announced that the ship has a bomb on it, planted by terrorists at the last port-of-call.

The movie only becomes allegorical in the end, a sort of miniature Ship of Fools (take out the Porterian psychodrama and that's what you're left with) where the multilingual, erudite characters represent civilization and the bomb the looming specter of fundamentalism. For much of its run the film is less thematically over-bearing, less spatially shrunken. In its best moments it is barely more than a Discovery Channel documentary, a tour of the significant historic sites of the Mediterranean, but created by someone with a genuine sense of history, a love of civilization and all it stands for, and the ability to view things not politically or even morally but with the sagely eye of one who has made their peace with humanity (de Oliveira is almost a hundred after all). It's irrelevant whether A Talking Picture is good cinema or not - certainly there are better-staged movies - for what matters is not the form but the tone, the sense of embracing. The film's charms are modest but they're there, and they have nothing to do with the playing out of some dramatic story (when forced to deal with plot de Oliveira seems almost embarrassed). They have to do with loving words, loving places, loving ideas, and doing so unabashedly yet humbly.