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A Carta / The Letter (1999) [Re-UP]

Posted By: Someonelse
A Carta / The Letter (1999) [Re-UP]

A Carta (1999)
DVD9 | ISO | PAL 16:9 | Cover | 01:43:19 | 8,02 Gb (incl. 5%)
Audio: French AC3 2.0 @ 192 Kbps | Subs: English, Spanish, Portuguese, French
Genre: Drama

Director: Manoel de Oliveira
Stars: Chiara Mastroianni, Pedro Abrunhosa, Antoine Chappey

A well-bred, lovely, spiritual, sad young woman marries an attentive physician who loves her. She feels affection but no love. Soon after, without design, she falls in love with Pedro Abrunhosa, a poet and performance artist. He also loves her. She keeps her distance from him, confessing her love to a friend who is a nun and, later, to her husband. Hunger for her love and jealousy consume him; she attends him as he wastes away. With his death, she can marry and express her passion, but what she does and how she explains herself, particularly to her cloistered friend, is at the heart of the film. Glimpses of convent life and of Abrunhosa on stage give contrast and mute comment.


Luminous and impassive, radiating a mysterious sadness from her wide brown eyes and chiseled Aubrey Beardsley lips, Chiara Mastroianni is more than an image of virtue in Manoel de Oliviera's film "The Letter." In this Portuguese director's contemporary update of the 17th-century French novel "La Princesse de Clèves" by Madame de Lafayette, she is the apotheosis of the sort of fervent morality that is the private domain only of saints and fools.

A Carta / The Letter (1999) [Re-UP]

Her character, Catherine de Clèves, is a beautiful, deeply unhappy woman who torments herself with questions about loyalty, virtue, honor and trust that may have been vital issues in Roman Catholic France three centuries ago but that today hardly anybody anywhere bothers to ask. And in relocating the story from 1678 (when the book, considered to be the first great French novel, was published) to contemporary Paris, the 90-year-old filmmaker risks looking ridiculous. At a press screening of the movie, which the New York Film Festival is showing this evening at 6 at Alice Tully Hall, certain situations drew titters from the audience.

A Carta / The Letter (1999) [Re-UP]

Would a sophisticated Parisian doctor upon learning that his wife has been pining for another man with whom she has never slept (and never will sleep) allow himself literally to waste away from jealousy and a broken heart? Not in this day and age. But in de Oliviera's raw spiritual allegory of the war between the flesh and spirit and the destructive consequences of one woman's extreme goodness and honesty, that is exactly what happens.

Those familiar with the director's earlier films shouldn't be surprised by such flagrant anachronisms. In a way they are the point.

A Carta / The Letter (1999) [Re-UP]

In contemplating the eternal versus the temporal, he cuts directly to the chase. His characters may wear modern dress, but they're still caught up in the moral and religious issues of an earlier time. "The Letter," like his other recent films, repeatedly and pointedly juxtaposes the flimsy modern world with images (especially heroic sculptures) that betoken an older, more permanent idea of Western civilization and Christian aspiration.

A Carta / The Letter (1999) [Re-UP]

Temptation appears to Catherine in the person of a Portuguese pop singer, Pedro Abrunhosa (playing himself), an enigmatic, Mephistophelean figure with a face full of stubble who affects black sunglasses and designer hip-hop fashions. When they first meet at a party, Catherine is contentedly married to a handsome doctor (Antoine Chappey), whom everyone believes to be her perfect match. But a spark is struck between the beautiful young matron and the free-spirited singer. For the rest of the film she struggles to resist a passion that she confesses first to a childhood friend (Leonor Silveira) in a convent and later (as a sign of her virtue) to her husband.

A Carta / The Letter (1999) [Re-UP]

The doctor is blissfully unaware of his wife's love for another man until they are watching television, and she involuntarily cries out at the news that Pedro has been injured in an accident. Even after her husband dies and she is free to marry Pedro, she avoids him, eventually taking the most extreme, self-mortifying measures to assuage her guilt.

A Carta / The Letter (1999) [Re-UP]

It isn't until the end of the film, when her confidante reads a long letter from Catherine, who has disappeared, that the movie makes its case for an absolute morality along with a fierce asceticism. "The Letter" tacitly endorses a view that the ultimate purpose of human life is neither happiness nor perpetuation of the species but engagement in an agonizing struggle toward an impossible moral perfection measured against eternity.
A Carta / The Letter (1999) [Re-UP]

Special Features:
- Jury's Award at Cannes - telejournal RTP 23.05.1999
- "Momento" - A Song by Pedro Abrunhosa, directed by Manoel de Oliveira
- Pedro Abrunhosa - interview
- Manoel de Oliveira - interview

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