Office Christmas Party
Another reminder that allowing your cast to madly improvise instead of actually providing a coherent script with a scintilla of inherent logic often leads to…
I didn't feel it was necessary to understand it during every moment. It is hypnotically beautiful, playful, coiling between past and present. It tells its stories within narratives by several characters. As in "Citizen Kane," it sometimes feels as if we've entered a flashback through the eyes of one character, and emerged from it through the eyes of another. All of the characters are memorable, even the little priest, Father Dinis (Adriano Luz), so small and quiet, so omniscient, so omnipresent, who relates some of the fates of the characters and seems to have shaped others. How was he present at so many key moments, early and late?
"Mysteries of Lisbon" opens with the voice of young Pedro da Silva (Joao Luis Arrais), an orphan who boards at a school run by Father Dinis. The boy is teased because he has no family name; he must be a bastard, some cruel boys say. But the padre begins to tell him a story of his mother, a great noblewoman, and then she appears in her carriage, beautiful and severe, and soon we are sinking into the labyrinth of the past.
The film by Raoul Ruiz is based on a modern Portuguese novel of the same title, by Camilo Castelo Branco, unread by me. I admired Ruiz's "Time Regained" (2000), inspired by Proust, and now here is an even more complex film about memories, but with the richness of Dickens. We meet brigands, pirates, prelates, nobility, cuckolds and soldiers in the Napoleonic wars, and an abundance of great beauties who swoon at their feet, and are swooned at. Many trenchant letters are written, and many thrown unread into the flames. Secrets of paternity are revealed. Betrayals are related.
All of this is described in narration illustrated by reconstructions of history, and sometimes illustrated by figures on a miniature stage given to Pedro by his mother. Ah, but the stage appears more than once. Indeed, all of the characters here seem to be onstage, and Ruiz consistently shows others observing from afar, or eavesdropping.