He was also the only filmmaker whose active career spanned from the silent era to the digital age.Īmong 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, and the French Legion of Honor. In March 2008 he was reported to be the oldest active film director in the world. Beginning in the 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. He continued making films of growing ambition throughout the 1970s and 1980s, gaining critical acclaim and numerous awards. In 1971, Oliveira directed 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. 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. 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.
In 1931 he completed his first film Douro, Faina Fluvial, a documentary about his home city Porto made in the city symphony genre. He first began making films in 1927, when he and some friends attempted to make a film about World War I.
At age 17, he joined his brothers as an executive in his father's factories. As a teenager his goal was to become an actor. Oliveira was educated at the Colégio Universal in Porto before attending a Jesuit boarding school in Galicia, Spain. 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. His family were wealthy industrialists and agricultural landowners. His parents were Francisco Jose de Oliveira and Candida Ferreira Pinto. Hoberman's analysis provides a historical and political context as well as an in-depth production history, drawing on primary sources and emphasizing director McCarey's prior work along with the Marx Brothers as well as the situation at Paramount, a substantial synopsis, and an account of the movie's initial reception, concluding with its subsequent elevation to comic masterpiece.Oliveira was born in Porto, Portugal on 11 December 1908. It attained canonical stature as a touchstone for Woody Allen and would be recognized by the Library of Congress in the 1990s. Strangelove (1964), the Beatles films, Morgan! (1966), The President's Analyst (1967) and The Producers (1968). Hoberman places Duck Soup, alongside analogous comedies- Dr. Hoberman's study of the film traces its reputation history, from the initial disappointment of its release, to its rise to cult status in the 1960s when the Marx's anarchic, anti-establishment humor seemed again timely.
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A topical satire of dictatorship and government in general, the movie was a critical failure and box-office let-down on its initial release in 1933. The Marx Brothers are universally considered to be classic Hollywood's preeminent comedy team and Duck Soup is generally regarded as their quintessential film.
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