Ricardo Manoel de Oliveira was born in Porto, Portugal, on December 11, 1908, to Francisco José de Oliveira and Cândida Ferreira Pinto. His family was wealthyindustrialists and agricultural landowners.
Oliveira was educated at the Colegio Universal in Porto before attending a Jesuit boarding school in Galicia, Spain.
At 17, he joined his brothers as anexecutive in his father's factories, where he remained for the majority of his adult life when not making films.
His first attempt at filmmaking was in 1927 when he and his friends worked on a filmabout the Portuguese experience in World War I, although the film was never made.
in 1933 he had the distinction of having acted in the second Portuguese sound film, A Canção de Lisboa.
EventuallyOliveira turned his attention back to filmmaking when he saw Walther Ruttmann's documentary Berlin: Symphony of a City.
The discovery of Ruttman's film prompted Oliveira to direct his own first film in1931, a documentary short titled Douro, Faina Fluvial.
Tomas –> He was invited to show the film at the International Congress of Film Critics in Lisbon, where the majority of the Portugueseaudience booed. However other foreign critics and artists who were in attendance praised the film, such as Luigi Pirandello and Emile Vuillermoz.
Fifteen years after his first attempt at filmmaking,Oliveira made his feature film debut in 1942. Aniki-Bóbó but he was criticized for portraying children that lied, cheated and stole, which in his mind made them act more like adults. The poorreception of the film forced Manoel de Oliveira to abandon other film projects he was involved in, and to dedicate himself to a vineyard that his wife had inherited.
Oliveira traveled to Germany to studynew techniques in color cinematography. He re-emerged onto the film scene in 1956 with The Artist and the City.
Since the 1970s, Oliveira has been at his most active, with the vast majority of his...