Belle toujours e a eloquência do silêncio: considerações sobre o épico no filme de Manoel de Oliveira
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Data
2019-05-31
Autores
Romão, Moisés Henrique Mietto [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
O cineasta português Manoel de Oliveira (1908-2015) é reconhecido mundialmente pela sua estética cinematográfica singular. Uma de suas principais características é a relação intrínseca que os seus filmes ostentam com as artes de uma forma geral, como a pintura, o teatro, a literatura, a arquitetura, a escultura, a música e o próprio cinema. Do teatro podemos notar o peso da palavra proferida. Com mais de 50 filmes em sua carreira – longas, médias e curtas-metragens –, o realizador nos presenteou com diálogos antológicos que nos instigam a refletir sobre os mais variados dilemas que perturbam o ser humano. Além disso, a sua distinta estética apresenta traços épicos que causam um distanciamento entre o espectador e o que é mostrado na tela, já que, muitas vezes, seus filmes se mostram realmente como filmes, como espetáculos. Tendo isso em mente, e sublinhando alguns filmes em que os diálogos são imprescindíveis, como em Um filme falado (2003) ou em O gebo e a sombra (2012), para citar apenas dois, é interessante examinar a eloquência do silêncio em Belle toujours (2006), obra em que os diálogos existem e são importantes, mas que recorre à quietude das personagens, em planos fulcrais, para sugerir um significado maior do que aquele que qualquer palavra seria capaz de indicar. Outrossim, a mise-en-scène é composta por elementos expressivos e muito significativos, os quais parecem gritar e dar voz à mudez. Em vista desse silêncio que causa estranheza a nós, espectadores, e que se mostra significativo, o presente trabalho pretende analisar como se dará a sua eloquência no filme em questão, o qual atinge o seu ápice em um jantar taciturno das personagens protagonistas.
The Portuguese film-maker Manoel de Oliveira (1908-2015) is known worldwide for his singular film aesthetic. One of its main characteristics is the intrinsic relation that his films display with art forms in general, such as painting, theatre, literature, architecture, sculpture, music and cinema itself. From theatre, we may notice the weight of the uttered word. With more than 50 films in his career – feature films, medium-length films and short ones –, the director gifted us with anthological dialogues which instigate reflection about various dilemmas that affect the human being. Furthermore, his distinctive aesthetic exhibits epic conventions which create distance between the audience and what is shown on screen, since his films are several times assumed as films, as spectacles. With this in mind, and underlining some films whose dialogues are crucial, as in A talking picture (2003) or in Gebo and the shadow (2012), to name but two, it seems interesting to examine the silence eloquence in Belle toujours (2006), masterpiece in which dialogues exist in their importance, but the film invokes the characters’ quietness in fundamental shots, to suggest a deeper meaning than any other possibly indicated by words. Moreover, the mise-en-scène is composed by expressive and very meaningful elements, which seem to make muteness loud and give voice to it. In face of this silence that causes us, the audience, strangeness and that shows itself meaningful, this work aims to analyse how its eloquence occurs in the film in question, in which silence reaches its apex during a taciturn dinner experienced by the main characters.
The Portuguese film-maker Manoel de Oliveira (1908-2015) is known worldwide for his singular film aesthetic. One of its main characteristics is the intrinsic relation that his films display with art forms in general, such as painting, theatre, literature, architecture, sculpture, music and cinema itself. From theatre, we may notice the weight of the uttered word. With more than 50 films in his career – feature films, medium-length films and short ones –, the director gifted us with anthological dialogues which instigate reflection about various dilemmas that affect the human being. Furthermore, his distinctive aesthetic exhibits epic conventions which create distance between the audience and what is shown on screen, since his films are several times assumed as films, as spectacles. With this in mind, and underlining some films whose dialogues are crucial, as in A talking picture (2003) or in Gebo and the shadow (2012), to name but two, it seems interesting to examine the silence eloquence in Belle toujours (2006), masterpiece in which dialogues exist in their importance, but the film invokes the characters’ quietness in fundamental shots, to suggest a deeper meaning than any other possibly indicated by words. Moreover, the mise-en-scène is composed by expressive and very meaningful elements, which seem to make muteness loud and give voice to it. In face of this silence that causes us, the audience, strangeness and that shows itself meaningful, this work aims to analyse how its eloquence occurs in the film in question, in which silence reaches its apex during a taciturn dinner experienced by the main characters.
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Manoel de Oliveira, cinema e teatro, cinema épico, Belle toujours, silêncio, film and theatre, epic film, silence