Abraham's Valley

Rating:
Summary: A slow-burning, sustained, modern masterpiece.
Review: 'Abraham Valley', a loose update of 'Madame Bovary', is easily the finest, most nuanced and adventurous adaptation of Flaubert's classic novel. Director Manoel de Oliveira keeps the main outline of the book - the young Emma, daughter of a lax landownver, marries a decent but dull older doctor called Charles (Carlos), and stifles in a respectable social milieu of parties and country mansions, escaping through a series of adulterous liaisons. Unlike her literary ancestor, though, Emma is not characterised as an impressionable reader of romances - the only book we see her reading is 'Madame Bovary', to whose heroine she repeatedly denies any similarity.

'Update' is the wrong word for what de Oliveira does in this extraordinary film. Like his other literary adaptations (most recently his reworking of Mme de Lafayette's 'The Princess of Cleves', 'The Letter'), the director plays with a variety of time-scales. Whatever its status as a 'modern' novel, 'Bovary' is still recognisably a 19th century work, replicated here in the dominant, omniscient third-person narrator, who traverses all social boundaries, comments and philosophises freely and has access to each character's innermost thoughts and feelings. The setting, however, is more contemporary (referring in passing to a 1974 revolution), with its modern clothes, cars, conveniences. The film fuses this familiar setting and what takes place in it, elaborate rituals and gatherings, and archaic modes of thought and speech that belong not only to the 19th century, but also the elegant formality of de Oliveira's beloved 18th; some compositions even recall the Renaissance paintings liberally alluded to throughout. In its choreography of long, static tableaux, performance, locations (interior and exterior), colour and music, the film frequently recalls that other great, hypnotic literary adaptation, Kubrick's 'Barry Lyndon'.

'Abraham Valley' is Total Cinema, de Oliveira's deceptively flat compositions and largely unmoving camera achieving a Bressonian three-dimensionality, through the equivalent importance given to sound, movement (or lack of) and light (when the camera does move, it feels giddy and miraculous). Flat scenes suddenly become layered, still empty spaces foregrounded while miniature activity bustles in the deep-focus background. The narrative itself is similarly dense, the apparent point of any given scene deflecting deeper, more penetrating concerns (the brilliant violin soiree, for instance; or the political discussion pressure-cooked by a cat being stroked). The surface of narrative and psychology is constantly being penetrated to open out older, less tangible, even superstitious and primeval mysteries, revealed through mirrors, trance-like rites, or the uncanny influence of moon and river. The generally restrained use of colour can quickly explode with a burning red rose or shimmer with a hazy white and pale blue dress.

Be warned, 'Valley' will not be to everyone's taste: at a leisurely three hours, it demands intense concentration and openness - some will find it interminable and pretentious. Give in to its rhythm and strange beauty, however, and you will be rewarded with one of the richest experiences in modern cinema.

Rating:
Summary: A slow-burning, sustained, modern masterpiece.
Review: 'Abraham Valley', a loose update of 'Madame Bovary', is easily the finest, most nuanced and adventurous adaptation of Flaubert's classic novel. Director Manoel de Oliveira keeps the main outline of the book - the young Emma, daughter of a lax landownver, marries a decent but dull older doctor called Charles (Carlos), and stifles in a respectable social milieu of parties and country mansions, escaping through a series of adulterous liaisons. Unlike her literary ancestor, though, Emma is not characterised as an impressionable reader of romances - the only book we see her reading is 'Madame Bovary', to whose heroine she repeatedly denies any similarity.

'Update' is the wrong word for what de Oliveira does in this extraordinary film. Like his other literary adaptations (most recently his reworking of Mme de Lafayette's 'The Princess of Cleves', 'The Letter'), the director plays with a variety of time-scales. Whatever its status as a 'modern' novel, 'Bovary' is still recognisably a 19th century work, replicated here in the dominant, omniscient third-person narrator, who traverses all social boundaries, comments and philosophises freely and has access to each character's innermost thoughts and feelings. The setting, however, is more contemporary (referring in passing to a 1974 revolution), with its modern clothes, cars, conveniences. The film fuses this familiar setting and what takes place in it, elaborate rituals and gatherings, and archaic modes of thought and speech that belong not only to the 19th century, but also the elegant formality of de Oliveira's beloved 18th; some compositions even recall the Renaissance paintings liberally alluded to throughout. In its choreography of long, static tableaux, performance, locations (interior and exterior), colour and music, the film frequently recalls that other great, hypnotic literary adaptation, Kubrick's 'Barry Lyndon'.

'Abraham Valley' is Total Cinema, de Oliveira's deceptively flat compositions and largely unmoving camera achieving a Bressonian three-dimensionality, through the equivalent importance given to sound, movement (or lack of) and light (when the camera does move, it feels giddy and miraculous). Flat scenes suddenly become layered, still empty spaces foregrounded while miniature activity bustles in the deep-focus background. The narrative itself is similarly dense, the apparent point of any given scene deflecting deeper, more penetrating concerns (the brilliant violin soiree, for instance; or the political discussion pressure-cooked by a cat being stroked). The surface of narrative and psychology is constantly being penetrated to open out older, less tangible, even superstitious and primeval mysteries, revealed through mirrors, trance-like rites, or the uncanny influence of moon and river. The generally restrained use of colour can quickly explode with a burning red rose or shimmer with a hazy white and pale blue dress.

Be warned, 'Valley' will not be to everyone's taste: at a leisurely three hours, it demands intense concentration and openness - some will find it interminable and pretentious. Give in to its rhythm and strange beauty, however, and you will be rewarded with one of the richest experiences in modern cinema.

Rating:
Summary: Sublime Film, average DVD transposition
Review: Decidedly inspired by 'Madame Bovary' but more closely adapted from its namesake Agustina Bessa-Luís' novel, Abraham Valley is a cinematic masterpiece, tracing more than the main character's ennui de vivre (my apologies if it sounds pretentious...) to encompass a whole repressed way of living that is set in the second half of the 20th century but might easily feel familiar to any 18th century Flaubert.
The cinematography and spectacular scenery of the Douro valley in northern Portugal (where all of the exteriors were shot) are a work of art all by itself.
It's a pity that the DVD doesn't add much more to this gem of a movie. Still - that should be no reason to keep you from having it in your collection.

Rating:
Summary: worst movie ever...
Review: i have seen A LOT OF movies, and i consistently cite this one as THE WORST MOVIE I HAVE EVER SEEN... my god, could film drop any lower... the sheer boredom doesn't even provide any entertainment value... in the tradition of all manoel de oliveira's films (or at least the three i've forced myself to see), it is dull, dull, dull and pointless... this is cinema for those who want to claim they enjoy intellectual films and force themselves through the three-hour torture of having to watch this empty anti-film... if i wanted to see a slide show of portugal, i would just go there or pick up a picture book

Rating:
Summary: worst movie ever...
Review: i have seen A LOT OF movies, and i consistently cite this one as THE WORST MOVIE I HAVE EVER SEEN... my god, could film drop any lower... the sheer boredom doesn't even provide any entertainment value... in the tradition of all manoel de oliveira's films (or at least the three i've forced myself to see), it is dull, dull, dull and pointless... this is cinema for those who want to claim they enjoy intellectual films and force themselves through the three-hour torture of having to watch this empty anti-film... if i wanted to see a slide show of portugal, i would just go there or pick up a picture book

Rating:
Summary: This may not be the director's cut
Review: If the running length is 187 minutes as claimed, then the film has been cut by about 16 minutes. Perhaps the distributor trimmed the film to make it fit on a single disc? Cutting a single frame out of a Manoel de Oliveira film is inexcusable. The film should be seen in its proper aspect ratio and running time.

Rating:
Summary: I could live with the video transfer if not for the sound
Review: This is a great film, but I am going to try to return the DVD as the soundtrack is dubbed in French. It isn't the original Portugese.

I don't own the U.S. VHS and don't know if it is also French, but I DO own a transferred copy of the U.K. PAL VHS and it is most clearly in Portugese. Even the pitch of the narrator's voice is different between the two versions.

I don't know if this was deliberate (I hope not, since the DVD box claims it is Portugese) or if they used the wrong film master, but it makes a tremendous difference.

Also, the sound is distorted in part of chapter 4, but I could even live with that if it was in the right language.

I was really looking forward to this and I'm too upset to even come up with a sappy response for the Where in the world are you? box as is my custom.

Rating:
Summary: I could live with the video transfer if not for the sound
Review: This is a great film, but I am going to try to return the DVD as the soundtrack is dubbed in French. It isn't the original Portugese.

I don't own the U.S. VHS and don't know if it is also French, but I DO own a transferred copy of the U.K. PAL VHS and it is most clearly in Portugese. Even the pitch of the narrator's voice is different between the two versions.

I don't know if this was deliberate (I hope not, since the DVD box claims it is Portugese) or if they used the wrong film master, but it makes a tremendous difference.

Also, the sound is distorted in part of chapter 4, but I could even live with that if it was in the right language.

I was really looking forward to this and I'm too upset to even come up with a sappy response for the Where in the world are you? box as is my custom.

Rating:
Summary: WARNING The DVD Transfer is Faulty
Review: This is a great movie. One of the best of the 1990's. However, Vanguard Cinema has transferred the film FLAT when it should have been tranferred SCOPE, which means all of the actors are squeezed and look like they are tall thin aliens. It's very distracting and considering the film is 3 hours long this ruins the film. I wish for this film to be seen and if the VHS version is available I recommend it.