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Movie: Mysteries of Lisbon
Release Date: 2011
Directors: Raoul Ruiz
Writers: Camilo Castelo Branco (book), Carlos Saboga
Genres: Drama | Mystery
Cast: Adriano Luz, Maria Jo’o Bastos and Ricardo Pereira
Well this is pretty exciting stuff, four and a half hours of Raoul Ruiz back on top form. It’s an adaptation of an eponymous 19th century novel by Camilo Castelo-Branco, who is a very famous author in Portugal, the first professional Portuguese author. I think that Ruiz and Castelo-Branco may have been birds of a feather, both known for being extremely prolific artists, Castelo-Branco managed to produce over 260 books whilst this movie is Ruiz’s 111th. Superficially one could compare the movie to Wojciech Has’ The Saragossa Manuscript (1965) in the way, in the style of Scheherazade, stories generate out of one another. But I think, given the large level of inter-relationships between the stories (what’s really being revealed is a web), a more apt comparison may be to Victor Hugo’s Les Mis’rables.
This is quite a dark movie, it opens with the description that ‘this work is not my child, nor my godson’ this work is a diary of suffering’. The young narrator says, in comparison to the other children at the religious school he’s at, ‘I never went on outings, nor had holidays, nor presents’. His presence at the school and his identity is a mystery to him, he has no last name and is known only as ‘Joao’. His story sprouts into others, which are generally to do with love.
The movie is perverse in the extreme, there is a ball at one point in the movie which sums up the atmosphere, the musicians play weird lilting African for the guests to dance to, which is the latest fashion, along with the pointing of fingers, all the while the guests maliciously gossip. This is in marked contrast to the official Catholicism of Portugal, that one never really gets any sense of in the movie. Although ones honour and reputation may be lost by a single indiscreet kiss, honour is only a thing of extreme superficiality, to be seen as honourable is to be honourable.
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The length to which love annihilates the characters in the movie is quite astonishing at times, and brought me to the brink of tears. The Duchess of Cliton is a case in point, a once innocent woman, who describes herself as ‘mechant’, and breaks the hearts of men at will. At one point, she is manipulating a portly baron, who has been nothing but kind to her, and simply bursts out in laughter, revelling in her power. She has to leave the room and then come back.
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The baron is totally undeterred, just as the young man who Cliton tells she is a bad woman simply refuses to believe her. Her beauty gives her a halo and power that is sheerly wicked. There’s also a lot of jealousy in the movie too, and the fires of this jealousy are stoked to ruination, in a way which provokes awe.
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