Teresa Côrte-Real
On April 25, 1974, a man walked alone in Largo do Carmo. He knocked on the GNR military barracks door and entered, unarmed and without any escorts. Inside, the Government’s chief, Marcelo Caetano, waited, surrounded by the military and the people. The man who stared at him that afternoon and demanded surrender, guaranteeing his safety, had just led Santarém’s Artillery 1 regiment in taking the capital. Without firing a single shot, he managed to overthrow a regime that was over 48 years old. That was the last step to take and he took it, without hesitation, becoming the unavoidable figure of the day that marked the beginning of democracy in Portugal
A train compartment, four people, a ticket collector, a Barcelos penknife and a potential assassin. Will they all make it to the end of the journey?
This odd film is a major representative of an even odder film genre: direct-to-celluloid opera. It was commissioned by the Portuguese master of style, director Manoel de Oliveira from composer João Paes. Musically, it ranges from 19th-century romanticism to popular, modernist and even "post-modernist" styles. In the initially tame story, a host-narrator tells the story of a wedding between the two lovebirds: Viscount d'Aveleda and the beautiful Marguerite. However, what happens in the bridal chamber is incredibly bizarre. The events after that are even stranger (the film out-does even Luis Buñuel in that department), and the wedding guests and family indulge in cannibalism, among other perversions.
