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Manoel de Oliveira
Manoel Cândido Pinto de Oliveira GCSE, GCIH (; 11 December 1908 – 2 April 2015) was a Portuguese film director and screenwriter born in Cedofeita, Porto. He first began making films in 1927, when he and some friends attempted to make a film about World War I. In 1931 he completed his first film ''Douro, Faina Fluvial'', a documentary about his home city Porto made in the city symphony genre. He made his feature film debut in 1942 with ''Aniki-Bóbó'' and continued to make shorts and documentaries for the next 30 years, gaining a minimal amount of recognition without being considered a major world film director. Among the numerous factors that prevented Oliveira from making more films during this time period were the political situation in Portugal, family obligations and money.
In 1971 Oliveira made his second feature narrative film ''Past and Present'', a social satire that both set the standard for his film career afterwards and gained him recognition in the global film community. He continued making films of growing ambition throughout the 1970s and 1980s, gaining critical acclaim and numerous awards. Beginning in late 1980s he was one of the most prolific working film directors and made an average of one film per year past the age of 100. In March 2008 he was reported to be the oldest active film director in the world, and was possibly the second oldest film director ever after George Abbott, who lived to be 107 and 7 months. He was also the only filmmaker whose active career spanned from the silent era to the digital age. Among his numerous awards were the Career Golden Lion from the 61st Venice International Film Festival, the Special Lion for the Overall Work in the 42nd Venice International Film Festival, an Honorary Golden Palm for his lifetime achievements in 2008 Cannes Film Festival,〔(【引用サイトリンク】 title=IMDB )〕〔Johnson, Randal. Manoel de Oliveira. University of Illinois Press. 2007. p. 1.〕 and the French Legion of Honor.
==Early life and education==
Oliveira was born on 11 December 1908 in Porto, Portugal,〔''Chicago Tribune'' dated February 5, 1996, p. 3〕 to Francisco José de Oliveira and Cândida Ferreira Pinto. His family were wealthy industrialists and agricultural landowners.〔(【引用サイトリンク】title=Manoel Oliveira Biography (1908-) )〕 His father owned a dry-goods factory, produced the first electric light bulbs in Portugal and built an electric energy plant before he died in 1932.〔Johnson. p. 5.〕 Oliveira was educated at the Colegio Universal in Porto before attending a Jesuit boarding school in Galicia, Spain.〔 As a teenager his goal was to become an actor. At 17, he joined his brothers as an executive in his father's factories, where he remained for the majority of his adult life when not making films. In a 1981 ''Sight and Sound'' article, John Gillett describes Oliveira as having "spent most of his life in business ... making films only when circumstances allowed."〔
From an early age, Oliveira was interested in the poverty of the lower classes, the arts and especially films. While he named D. W. Griffith, Eric von Stroheim, Charlie Chaplin, Max Linder, Carl Dreyer's ''The Passion of Joan of Arc'' and Sergei Eisenstein's ''The General Line'' as early influences, he was also disappointed to have virtually no Portuguese filmmakers to emulate.〔Wakeman, John. World Film Directors, Volume 1. The H. W. Wilson Company. 1987. 832–837.〕 The Portuguese film industry was also highly censored and restricted under the fascist Salazar regime that lasted from the early 1930s until the mid-1970s. His later films, such as ''The Cannibals'' and ''Belle Toujours'' (a sequel to ''Belle de Jour''), suggest an affinity with Spanish filmmaker Luis Buñuel. He stated "I'm closer to Buñuel. He's a reverse Catholic and I was raised a Catholic. It's a religion that permits sin, and Buñuel at the very deepest is one of the most moralistic directors but he does everything to the contrary. I never say that I'm Catholic because to be Catholic is very difficult. I prefer to be thought of as a great sinner."〔Stone, Judy. ''Eye on the World: Conversations with International Filmmakers''. Silman-James Press, Los Angeles, 1997, ISBN 1-879505-36-3, pp. 496–497.〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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