By Universidade da Beira Interior
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The strategy implies the use of local people as extras, who were given a few lines. 34 In Jaime (1999), the Porto accent is made present in the main character and his schoolmate, both local children who got their first acting experience in the film, but absent in Jaime’s mother, father and other supporting characters, who are professional actors. A further ‘local colour’ strategy is the frequent use of swear words by the two children and some of the other characters, a strategy which is also found in The Seamstress from Sé (1958) and The Little Bird from Ribeira (1960).
If in The Seamstress from Sé (1958) and The Little Bird from Ribeira (1960) two ’Portos’ are displayed (with different architectural/urban spaces, different speed of movement – by car vs. on foot – different people and moralities), in Aniki-Bóbó (1942) we rarely glimpse any part of Porto other than its old part. And does Oliveira film old Porto in Aniki-Bóbó (1942)? Most of 16 Unrecognisable due to the rarity of such a view point for the normal human eye. The cinematographic representation of the city of Porto...
Mário Cláudio, (2000), A Cidade no Bolso, Porto: Campo das Letras; Júlio Dinis, (1993), Uma Família Inglesa – Cenas da vida do Porto, , Porto: Porto Editora; António Rebordão Navarro, (1995), A Parábola do Passeio Alegre, Porto: Campo das Letras; António Rebordão Navarro, (1996), A Praça de Liége, Porto: Bertrand Editora; António Rebordão Navarro, (1998), Amêndoas, Doces, Venenos, Porto: Campo das Letras; Helder Pacheco, (1997), Intimidades Portuenses, Porto: Edições Afrontamento; Helder Pacheco,(2001), Porto: Lugares Dentro de Nós, Porto: Edições Afrontamento.