|
Vale Abra o Abraham s Valley
|
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In Abraham's Vale, |
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land of the man, God in vain |
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his own anger and shame, |
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things happen that seem |
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a world of sheer hypocrisy. |
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Abraham had the archaic custom |
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of using his wife's looks |
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He said she was his sister, |
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which made life easier |
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Abraham's Vale |
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A FILM BY |
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SCREENPLAY |
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BASED ON THE NOVEL BY |
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In the 18th century, the river Paiva |
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was the southern boundary |
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A clever doctor, an expert in phlegm, |
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called Abraham of Paiva, lived there. |
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He was caught in bed |
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who later suffered a sordid abortion, |
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so he went down to Balsemão |
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and vanished, |
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Such is Abraham's Vale: |
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still bear the trace |
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busy with Granada's Orient trade. |
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Today, the blood of the Paivas |
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who studied medical science |
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married to a widow and settled |
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One day, Carlos Paiva came to |
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It was the feast of Remédios. |
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There he met the 14-year-old daughter |
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of a respectable man, eating eels |
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In the star outside |
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Pure honey. |
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They are perfect! |
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No, no! |
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You have them, they are a speciality. |
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Say thank you to the nice man. |
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Mr? |
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Carlos, Carlos de Paiva. |
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Carlos? Thank you, Mr Carlos. |
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Doctor and ploughman, at your service. |
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Doctor and ploughman! |
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Please take a seat... |
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Symptoms, minor complaints, |
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which oddly, time seems to heal. |
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His soul lit up on meeting |
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so he told him the saga |
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but not much about his wife. |
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She wasn't long dead |
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Ema, his only daughter, |
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Ema's just like her. |
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I've an uncle in Estremadura. |
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I have family there myself. |
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That Estremadura connection |
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The old man gave him his address |
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and said he'd call him |
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I got better and became |
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A doctor's fate! I'm only ever asked |
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Ema thought him a fool. |
| 00:06:07 |
Nobody purges or bleeds any more. |
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She noted his masculine grace |
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and didn't see him again. |
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Or think about him. |
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Carlos Paiva returned home. |
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His wife was washing her feet. |
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She had a fungus between the fingers, |
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She was sullen, shouted very loud |
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Suddenly, Carlos realized all that |
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and became gentle and soft to her. |
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He kept saying she was right. |
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He saw someone. |
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She thought, as lucid as someone |
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She began spying upon him. |
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Time passed and nothing happened. |
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We never know when the heart suffers |
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or gains coal to maintain the heat. |
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Where's Romesal? |
| 00:08:30 |
Where's Romesal? |
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Tell him! |
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Romesal? Straight on... |
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Yes, watch out! |
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There was nothing to say |
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He was wearing an oldjacket. |
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It was a cold autumn day |
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and there was no heating |
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What brings you here, Dr Carlos? |
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Carlos... |
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Paiva, Carlos Paiva. |
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That's right, Doctor Carlos Paiva. |
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I'm looking for a good wine |
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and knowing your expertise... |
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It's got to be right, |
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from a good cellar. |
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I haven't got it. |
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But I'm sure we'll manage. |
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It'll be expensive, Doctor. |
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A royal beverage! |
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Though even kings drink plonk |
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I swear, I'm... |
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Ema seemed even prettier, |
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her blonde locks falling |
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on a coarse-knit fisherman's sweater. |
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Do you remember Doctor Carlos, |
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No, I don't remember. |
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But Ema did remember. |
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She thought he was handsome, |
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Ema thought salesmen must have |
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In Lamego? |
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Yes, in Lamego. |
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I must attend to my patients. |
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Even if this is a sick call... |
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Ema, bring a glass of wine |
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There aren't any biscuits. |
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Don't go to any trouble. |
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Carlos noticed an antique altar |
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of surprising and original beauty. |
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It's a good piece, an inheritance |
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that my sister Augusta worships. |
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Shut up, Jordão! |
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Cardeano showed Carlos the way out, |
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through the main gate, |
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Absurdly, Carlos left feeling bitter. |
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'Who does she think she is? ', |
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Ema was orphaned at the age of six. |
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Once, when she had earache, |
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She remembered a trickle, |
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The rest was a secret connection |
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where everything moved |
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Perhaps the walls of the womb, |
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nourishment, growing hands and feet. |
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Aunt Augusta takes communion |
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you pray so much you must have |
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You're right. |
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God knows I can't go long |
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But you ought to believe in God, Ema, |
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and pray, |
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instead of reading |
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Women have no business |
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They aren't any concern of ours. |
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Why not? |
| 00:14:34 |
Why not? |
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Because they are overpowering. |
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Even without reading Amadis of Gaul |
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who loved ladies with no culture, |
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ignorant of Latin. |
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Ema gazed at the altar, |
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as if unburdening herself |
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heavy with lace and ornaments, |
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as if the memory of the cruel drama |
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of her mother's death |
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that was like a theatre set. |
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Aunt is frightened of me. |
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You'd be happier if I was a nun. |
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You'd like to see me in a habit, |
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with a rosary at my belt, like yours. |
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Her laughter was crystalline, |
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like a female response |
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to the male nightingale's song. |
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Behave yourself, miss! |
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A nun? The young lady? |
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That's what they're saying. |
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That's all we need! |
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Marina was tough. |
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Boys who tried it on, |
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Well, I'll tell you this, |
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she's too young and too pretty |
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Branca was easier-going. |
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She liked men, without submission, |
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Alice had a plan - she was going |
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All of them liked Ema |
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The washerwoman was dumb, |
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But Ritinha was cunning and curious |
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She was as strong |
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The house was a hive of rumours, |
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abuzz with plots and gossip, |
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where the talk was of sex, desire |
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She can't hear, don't talk to her. |
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She knows a thing or two |
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more than we do. |
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She can tell the type of grape |
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And blood on sheets, if it's nice |
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If it's dark, it's a married woman's. |
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If it's heavy, then it's nearly over. |
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Hey, what else do you know? |
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How can you tell, |
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You can see in her eyes |
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and from the way she moves. |
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A man's got to react |
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Look at that! |
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I can say that myself. |
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in cold water instead of |
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What next, scarecrow? |
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Give me a go with one like you. |
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Get out of here! |
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Men! |
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Are you sighing, woman? |
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What about you, eh? |
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- No. |
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- I am not! |
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That's it, I'm not. |
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That's it, you are! |
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Sometimes yes, sometimes no! |
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Sometimes no, sometimes yes! |
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Ritinha was too pretty |
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She was fascinated |
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But she resisted them. |
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Even when she liked someone, |
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She sensed that her children |
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and that her husband |
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So she remained a virgin |
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Till she was fourteen, |
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Ema never left the house. |
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She was confirmed |
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at the family altar. |
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Only once, she went out to present |
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very tasteful |
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They spent winters in Cascais |
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and received Ema now in their house |
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They were two sisters, |
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Ema tried to hide her slight limp. |
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She climbed the stairs and took fright |
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when she suddenly |
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She stood mesmerized. |
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She entered the drawing-room. |
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As soon as the sisters saw her, |
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the same dreadful thought |
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"This girl is already |
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Ema conveyed |
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Her beauty was exuberant |
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and thus dangerous. |
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There's something unpleasant, |
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something sinister about her, |
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including her looks. |
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Do you really think she's a beauty? |
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I don't know how to put it... |
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Her beauty is a kind of genius. |
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Come closer. |
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We want to have a look at you. |
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Yes... |
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We want to have a good look at you. |
| 00:22:30 |
You're very lovely. |
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Isn't she, sister? |
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Not bad. Not bad at all. |
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Ema smiled as if to bite them, |
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which convinced the sisters, |
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that she'd grow |
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How were the ladies? |
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Look, Father... |
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It was horrible. They sniffed at me |
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They are educated women. |
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Maybe, but it's a tough education, |
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not for the faint-hearted. |
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Aren't you being a little harsh? |
| 00:24:09 |
I'm telling you what I think. |
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I've got a surprise for you. |
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A memento from your confirmation. |
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The cheek! They'll pay for this! |
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Ema didn't know how to deal |
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capable of undressing her |
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Was it her imagination? |
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And her provoking this terrible need, |
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Their desire was obvious and criminal, |
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the only reason for patience |
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Ema's appearances on the terrace |
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That wall was a rampart. |
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Dogs and cats were run over. |
| 00:27:44 |
People lost control |
| 00:27:50 |
The situation got worse |
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Marina! Alice! |
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These servants! |
| 00:28:31 |
What's wrong with Ema? |
| 00:28:33 |
The mayor's complained about people |
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because of her. |
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Marina! |
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Miss... Miss Ema... |
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Yes, what about her? |
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Well, Miss Ema... |
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She uses the terrace... |
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The glare of our windows |
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You can't blame the young lady. |
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Naturally! |
| 00:29:04 |
He said the word "naturally" |
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like a lawyer, to win time. |
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It was agreed |
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when the sun shone, |
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reflected its rays into drivers'eyes. |
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The verandah was a conservatory |
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maidenhairs and red flowers, |
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in view of the four o'clock train |
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to Oporto, |
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Little angels, they are! |
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Ema fell ill when she was five. |
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After plenty of prayers, |
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But her left leg had a limp. |
| 00:30:04 |
Yes, she was handicapped. |
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It doesn't show. |
| 00:30:08 |
Of course it shows! |
| 00:30:10 |
See! He can't bear her. |
| 00:30:13 |
So? Beauty... |
| 00:30:15 |
undermines our little games. |
| 00:30:18 |
Nelson had given up his vocation |
| 00:30:22 |
to enjoy with Branca, the maid, |
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a secret affair, |
| 00:30:28 |
but it was Ema that he really loved. |
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I'm not that pretty! |
| 00:30:34 |
You don't like mirrors. |
| 00:30:36 |
He's really fallen for her. |
| 00:30:38 |
I know he has. |
| 00:30:39 |
All because of that damn wall. |
| 00:30:43 |
Imagine, the mayor, a friend, |
| 00:30:46 |
wanted me to move the wall back. |
| 00:30:48 |
They'll send Ema to prison. |
| 00:30:51 |
It isn't like that. |
| 00:30:53 |
I have certain responsibilities. |
| 00:30:57 |
There are complaints. |
| 00:30:59 |
If you knew |
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what a father |
| 00:31:04 |
She's a lovely daughter. |
| 00:31:06 |
She's not to go near the terrace! |
| 00:31:09 |
So lovely and no suitor? |
| 00:31:11 |
Pretty girls must marry quick. |
| 00:31:13 |
True. |
| 00:31:15 |
I don't disagree. |
| 00:31:18 |
I shouldn't but I'm so greedy! |
| 00:31:30 |
It's true, it's time Ema got married. |
| 00:31:34 |
There are plenty of suitors, |
| 00:31:39 |
I'll have rowdy grandchildren like the |
| 00:31:44 |
Little angels! |
| 00:31:47 |
Well, Ema? |
| 00:31:50 |
Let's not talk about it here, Father. |
| 00:31:56 |
A husband's love is best, |
| 00:31:59 |
beauty is the fruit of love. |
| 00:32:04 |
Well said. |
| 00:32:08 |
Branca, you're so clumsy! |
| 00:32:22 |
You should be ashamed, Ema! |
| 00:32:57 |
'I went hunting that day' |
| 00:33:00 |
'and caught a fine canary.' |
| 00:33:02 |
'I gave it as a gift' |
| 00:33:04 |
'to the king's daughter.' |
| 00:33:07 |
'To the daughter of the king,' |
| 00:33:09 |
'she's rich and she's Brazilian.' |
| 00:33:11 |
'She ordered a cage of precious wood.' |
| 00:33:16 |
'When the cage was ready, |
| 00:33:20 |
'By day and by night |
| 00:33:25 |
'The canary escaped |
| 00:33:29 |
'Experts were called,' |
| 00:33:31 |
'21 consultants.' |
| 00:33:33 |
'But with the doctors came' |
| 00:33:35 |
'the louse and the flea.' |
| 00:33:39 |
'The canary died, poor thing, |
| 00:33:44 |
'There was a party at the end.' |
| 00:33:48 |
On the back of an ant, |
| 00:33:50 |
beautiful Josefa, |
| 00:33:53 |
On the back of an ant, |
| 00:33:55 |
beautiful Josefa, |
| 00:34:25 |
Dreams, desires, manias, |
| 00:34:28 |
are merely wishing one |
| 00:34:33 |
Tearing at bodily symbols |
| 00:34:35 |
(sexual and visual, the worst), |
| 00:34:40 |
a various collection of fluxes. |
| 00:34:44 |
Hideous motions, similar to ancient |
| 00:34:50 |
given to deprivations |
| 00:34:54 |
so love shoulders the blame |
| 00:35:00 |
Ema knew of unspeakable examples |
| 00:35:05 |
of love's critical role |
| 00:35:08 |
in prolonging youth |
| 00:35:11 |
by encouraging submissiveness. |
| 00:35:22 |
Time passed. |
| 00:35:23 |
Aunt Augusta fell ill. |
| 00:35:26 |
Death came suddenly, as usual. |
| 00:35:30 |
Ema was shocked. |
| 00:35:33 |
Though her aunt's life had been |
| 00:35:39 |
Branca, the maid, wasn't much help. |
| 00:35:44 |
She took to her bed with bellyache. |
| 00:35:48 |
Dr Paiva was called urgently. |
| 00:36:34 |
Carlos was surprised: |
| 00:36:40 |
now that there was hurt. |
| 00:36:46 |
To Ema, Carlos seemed sad |
| 00:36:49 |
and she discovered she liked sadness, |
| 00:36:53 |
as a reward for sacrifice. |
| 00:37:13 |
Thank you for coming. |
| 00:37:15 |
It all happened so fast. |
| 00:37:18 |
One disaster after another. |
| 00:37:24 |
Have I come too late? |
| 00:37:26 |
No, for my poor sister, |
| 00:37:30 |
God have mercy on her! |
| 00:37:34 |
My deepest sympathy. |
| 00:37:36 |
Thank you. |
| 00:37:37 |
Thank you. |
| 00:37:40 |
But you're in mourning yourself. |
| 00:37:44 |
My wife died. |
| 00:37:50 |
It happened suddenly. |
| 00:37:53 |
We're very sorry to hear it. |
| 00:37:57 |
Thank you. |
| 00:38:08 |
Ema's sacrifice was that she hated |
| 00:38:14 |
She no longer went out on the terrace |
| 00:38:17 |
to show off her beauty. |
| 00:38:21 |
What was beauty for |
| 00:38:23 |
if only to be gawped at by salesmen |
| 00:38:36 |
Please, see to Branca, the maid. |
| 00:38:40 |
She is in terrible pain. |
| 00:38:44 |
Ema, please show the doctor the way. |
| 00:38:59 |
This way. |
| 00:39:44 |
Branca, Dr Paiva's come to see you. |
| 00:39:49 |
Please come in. |
| 00:40:04 |
Weakness in the guise of strength. |
| 00:40:07 |
One shove and Ema would fall. |
| 00:40:12 |
There were no rules |
| 00:40:18 |
Ema knew there was only |
| 00:40:21 |
She must pretend, play dead. |
| 00:40:40 |
Yes, it was Nelson, |
| 00:40:42 |
the man who lost his vocation. |
| 00:40:46 |
Branca, pregnant by him, |
| 00:40:49 |
had had a secret abortion |
| 00:40:53 |
and the excuse of the whole house. |
| 00:41:22 |
Carlos decided not to betray her. |
| 00:42:08 |
Her beauty surfaced upon the silk |
| 00:42:14 |
She was like a wild beast |
| 00:42:17 |
an animal, a tiny creature, |
| 00:42:20 |
but with already predatory looks. |
| 00:42:34 |
She knew that her ties |
| 00:42:37 |
and her love of childish ways |
| 00:42:42 |
As she unbound her hair, |
| 00:42:46 |
her heart, too, was unchained, |
| 00:42:51 |
though she found comfort |
| 00:42:54 |
and that was gone forever. |
| 00:43:00 |
Her mother had been |
| 00:43:05 |
of rich people fallen on bad times. |
| 00:43:09 |
Ema remembered hat boxes |
| 00:43:15 |
her mother received |
| 00:43:24 |
Nelson, the trainee priest, |
| 00:43:28 |
whose appeal lay in what was missing. |
| 00:43:32 |
The bride practically raped him |
| 00:43:37 |
She died soon, |
| 00:43:41 |
as if he'd been a pearl necklace. |
| 00:43:46 |
By spring, |
| 00:43:47 |
Ema was engaged. |
| 00:43:49 |
Carlos was silly with joy. |
| 00:43:53 |
Twice, he put back the wedding |
| 00:43:55 |
to show he wasn't giving in |
| 00:44:00 |
He was afraid of Ema's character, |
| 00:44:04 |
so much at odds with the vain |
| 00:44:10 |
Look! Is that a different river? |
| 00:44:14 |
Ema thought perhaps |
| 00:44:20 |
that rarely raised their shining heads |
| 00:44:23 |
We can't try a dress on like that. |
| 00:44:25 |
Come and see, it's changed! |
| 00:44:28 |
No, miss, |
| 00:44:31 |
It's a man. |
| 00:44:33 |
A man? |
| 00:44:34 |
Yes, seen from a distance |
| 00:44:39 |
There's fog, the river is not clear. |
| 00:44:42 |
You can't see clearly |
| 00:44:45 |
A boat... drifting. |
| 00:44:48 |
Maybe. |
| 00:44:49 |
I know, it's the ferry that takes |
| 00:45:10 |
I'm getting married |
| 00:45:13 |
Please miss! You say |
| 00:45:16 |
Sweet Lord! Holy Mother! |
| 00:45:20 |
Marina's questions distracted her. |
| 00:45:23 |
Then Branca helped to dress her, |
| 00:45:27 |
as a handmaiden. |
| 00:45:38 |
Something blue, for luck. |
| 00:45:43 |
More blue, there's never enough. |
| 00:45:47 |
The blue shoes you asked for. |
| 00:45:49 |
More blue! Lots of blue for luck. |
| 00:45:58 |
Carlos asked that the ceremony |
| 00:46:00 |
should take place in Abraham's Vale. |
| 00:46:04 |
Mr Cardeano accepted, |
| 00:46:07 |
on condition |
| 00:46:14 |
In order that you may be |
| 00:46:18 |
bound in holy matrimony, |
| 00:46:25 |
Marriage is the deliberate |
| 00:46:30 |
who decide to unite, |
| 00:46:34 |
in a single destiny, |
| 00:46:39 |
Nelson, ex-seminarist |
| 00:46:44 |
twice married, was in love with Ema. |
| 00:46:51 |
He burst into tears when he heard |
| 00:46:56 |
and collapsed on to a chair, |
| 00:47:01 |
He recalled the days |
| 00:47:05 |
in the conservatory full of begonias, |
| 00:47:10 |
where a couple of parrots |
| 00:47:12 |
chortled at the lovers'sighs. |
| 00:47:17 |
Carlos, you must have considered |
| 00:47:21 |
Do you willingly take as your |
| 00:47:26 |
Ema here? |
| 00:47:29 |
I do. |
| 00:47:32 |
Ema, you must have considered |
| 00:47:35 |
Do you willingly take as your |
| 00:47:40 |
Carlos here? |
| 00:47:43 |
I do. |
| 00:48:30 |
Ema, take this ring |
| 00:48:32 |
as a sign of my love |
| 00:48:35 |
In the name of the Father, |
| 00:48:43 |
Carlos, take this ring |
| 00:48:46 |
as a sign of my love |
| 00:48:50 |
In the name of the Father, |
| 00:48:58 |
At Romesal, |
| 00:49:02 |
a nightingale trilled so brilliantly, |
| 00:49:05 |
it delighted whoever was listening. |
| 00:49:32 |
From the windows of Romesal |
| 00:49:37 |
land of the Paiva, |
| 00:49:44 |
Ema couldn't persuade |
| 00:49:46 |
because she wanted to marry |
| 00:49:50 |
and Marina refused too, |
| 00:49:54 |
Only Ritinha, the dumb one, |
| 00:50:11 |
Yes, yes... this is Dr Paiva's. |
| 00:50:15 |
No, he's not in. |
| 00:50:17 |
He'll be here at dinner time. |
| 00:50:20 |
You're welcome. |
| 00:50:32 |
Carlos was always out on calls. |
| 00:50:35 |
Ema felt abandoned, |
| 00:50:38 |
and because of emergencies, |
| 00:50:41 |
Carlos insisted on separate rooms |
| 00:50:56 |
Ritinha, though dumb, |
| 00:51:02 |
Her lack of certain faculties |
| 00:51:09 |
Nothing escaped her. |
| 00:51:12 |
She was doglike in her devotion. |
| 00:51:18 |
Ema loved her dearly. |
| 00:51:22 |
She trusted her with everything, |
| 00:51:25 |
keys, wine, jewels and letters. |
| 00:51:43 |
Are you coming with us? |
| 00:51:46 |
No, I'll stay here for a bit. |
| 00:51:49 |
Come on, Ema. |
| 00:51:51 |
No, I like it here. |
| 00:51:55 |
Be like that, we're off. |
| 00:52:09 |
When Carlos'sisters |
| 00:52:13 |
said she'd lost a handkerchief, |
| 00:52:16 |
Ritinha left without a word. |
| 00:52:22 |
Anyway Carlos didn't see the point, |
| 00:52:31 |
But Ema was hurt, |
| 00:52:36 |
she'd looked after her, |
| 00:52:40 |
she was a last link with Romesal |
| 00:52:44 |
and the wide corridors and hallways |
| 00:52:47 |
of her childhood. |
| 00:52:52 |
Intending to put an end |
| 00:52:56 |
Carlos took her the next Sunday |
| 00:53:00 |
in the house of the Semblanos, |
| 00:53:08 |
The Holy Gospel of Our Lord |
| 00:53:13 |
according to St. Luke. |
| 00:53:15 |
Glory be to thee, O Lord. |
| 00:53:17 |
At that time, |
| 00:53:21 |
'And there will be signs in sun |
| 00:53:26 |
'and upon the earth distress |
| 00:53:28 |
'in perplexity at the roaring of the sea |
| 00:53:31 |
'men fainting with fear' |
| 00:53:34 |
'and with foreboding of what is coming |
| 00:53:39 |
'for the powers of the heavens |
| 00:53:42 |
'And then they will see |
| 00:53:44 |
'coming in a cloud |
| 00:53:49 |
'Now when these things |
| 00:53:52 |
'look up and raise your heads,' |
| 00:53:56 |
'because your redemption |
| 00:53:59 |
This is the word of the Lord. |
| 00:54:01 |
Thanks be to God. |
| 00:54:07 |
Brothers, we are joyful |
| 00:54:11 |
to celebrate the Eucharist. |
| 00:54:16 |
We just listened to the word of God, |
| 00:54:20 |
which was announced to us |
| 00:54:24 |
and refers to recent times. |
| 00:54:28 |
In a few moments, |
| 00:54:29 |
the Lord will be with us |
| 00:54:34 |
a sign of His presence. |
| 00:54:39 |
The time of the Advent has begun. |
| 00:54:42 |
The Advent is a path of preparation |
| 00:54:46 |
and hope for Christmas. |
| 00:54:50 |
Christmas carries us |
| 00:54:55 |
so that we can be present |
| 00:55:01 |
But the Advent also helps us to live |
| 00:55:05 |
the reality of Christmas in our times. |
| 00:55:09 |
So be it. |
| 00:55:12 |
The Paiva girls thought Ema |
| 00:55:16 |
Carlos understandably |
| 00:55:22 |
He found nothing wrong: |
| 00:55:28 |
Mr Cardeano was alone now |
| 00:55:31 |
before the altar that held |
| 00:55:37 |
After his daughter's wedding, |
| 00:55:40 |
he took to tears and to drink, |
| 00:55:42 |
which made him even sadder. |
| 00:55:45 |
He thought his daughter Ema |
| 00:55:53 |
And somehow Carlos didn't seem |
| 00:55:59 |
Mr Cardeano remained with his mind |
| 00:56:09 |
Dumb Ritinha returned to Romesal. |
| 00:56:13 |
Ema, coming from a house |
| 00:56:17 |
Felt lost in Abraham's Vale. |
| 00:57:44 |
It all began when Carlos brought her |
| 00:57:50 |
invited by the Luminares, |
| 00:57:53 |
who were keen to meet Ema, |
| 00:58:00 |
The rain had stopped |
| 00:58:04 |
Bright leaves and stars peeped |
| 00:58:10 |
giving the night |
| 00:59:56 |
May I? |
| 01:00:12 |
One doesn't expect to find people |
| 01:00:16 |
Why not? |
| 01:00:19 |
It's a ball like any other. |
| 01:00:22 |
Do you know any other? |
| 01:00:23 |
No, I said 'like any other'. |
| 01:00:27 |
Aren't they all the same? |
| 01:00:32 |
In films, they are. |
| 01:00:38 |
Luminares wasn't listening. |
| 01:00:41 |
If Ema learnt to dress, he thought, |
| 01:00:44 |
she would create quite a stir. |
| 01:00:48 |
Is something wrong? |
| 01:00:51 |
How could it be, beside such beauty? |
| 01:00:55 |
On the contrary! |
| 01:01:02 |
I was just thinking how unsettling |
| 01:01:07 |
Look. |
| 01:01:10 |
The romantic purity of the Moon |
| 01:01:14 |
and an Angel, gentle as Cupid. |
| 01:01:18 |
Look at this one. |
| 01:01:20 |
It's the Sun, |
| 01:01:25 |
king of creation, symbol of love. |
| 01:01:27 |
Cupid, an angel, adores him. |
| 01:01:33 |
A lovely woman... |
| 01:01:35 |
...sometimes hides |
| 01:01:39 |
a burning desire. |
| 01:02:10 |
This lady's face for instance. |
| 01:02:13 |
May I present my friend, |
| 01:02:16 |
owner of estate called Vesúvio |
| 01:02:20 |
Fernando Osório. |
| 01:02:22 |
Dr Carlos' Paiva's wife. |
| 01:02:24 |
An enormous pleasure. |
| 01:02:35 |
Imagine meeting |
| 01:02:39 |
The blues belong to my father's day, |
| 01:02:43 |
They're back in fashion. |
| 01:02:45 |
Shall we dance? |
| 01:02:46 |
I'm no good. |
| 01:02:48 |
I insist. Are you scared? |
| 01:02:50 |
You've only yourself to blame. |
| 01:04:52 |
Tell me... is that her? Ema? |
| 01:04:56 |
I've just been introduced. |
| 01:05:00 |
No, thank you. Not till I must. |
| 01:05:04 |
Are you coming? |
| 01:05:05 |
I'd love to. |
| 01:05:13 |
What happened? |
| 01:05:15 |
It's nothing you've done. |
| 01:05:18 |
She's a circus tiger |
| 01:05:21 |
who wouldn't survive in the jungle. |
| 01:05:25 |
Evil is for sermons, she doesn't know |
| 01:05:30 |
Is she invulnerable? |
| 01:05:32 |
Everyone loves her. |
| 01:05:35 |
Even her enemies are friends. |
| 01:05:46 |
He looks like the night nurse. |
| 01:05:56 |
Carlos! Carlos! |
| 01:06:03 |
I'm sorry, I didn't see who it was. |
| 01:06:06 |
This is lucky, |
| 01:06:10 |
Simona, my wife. |
| 01:06:12 |
Since we're introducing ourselves, |
| 01:06:15 |
here I am at the service |
| 01:06:17 |
of the lovely lady |
| 01:06:18 |
our beloved doctor and friend |
| 01:06:23 |
has chosen as his wife. |
| 01:06:32 |
Do you know who I am? |
| 01:06:35 |
I don't know myself. |
| 01:06:37 |
They call me 'old Semblano' |
| 01:06:39 |
and say I'm a philandering monkey. |
| 01:06:47 |
I hate spiritual retreats for couples |
| 01:06:51 |
and I'm afraid I'll fall from grace. |
| 01:07:01 |
Old Semblano was full of himself, |
| 01:07:07 |
The Jacas ball never happened again, |
| 01:07:11 |
but it stuck in Ema's mind. |
| 01:07:15 |
At home, in Abraham's Vale, |
| 01:07:17 |
she inhaled the cigars |
| 01:07:23 |
and her belly heaved |
| 01:07:28 |
which she fooled |
| 01:07:29 |
by sleeping with Carlos. |
| 01:11:51 |
Were you in bed? |
| 01:12:29 |
Don't you want the light off? |
| 01:12:31 |
I can see you better. |
| 01:12:34 |
You're so lovely! |
| 01:12:38 |
Why have the light off? |
| 01:12:42 |
Because it's more... |
| 01:12:52 |
...romantic. |
| 01:13:23 |
Come on. |
| 01:13:26 |
Carlos realized Ema knew more |
| 01:13:31 |
than he had thought. |
| 01:13:36 |
It was him, Pedro Luminares, |
| 01:13:38 |
who led her, almost by the hand, |
| 01:13:43 |
and introduced her to Maria Loreto |
| 01:13:47 |
before Carlos thought of it. |
| 01:13:50 |
But Carlos went with them. |
| 01:13:53 |
And what does Ema think of love? |
| 01:13:57 |
I don't know what to say. |
| 01:14:17 |
That's the best answer! |
| 01:14:22 |
Carlos... |
| 01:14:27 |
...hasn't he taught you? |
| 01:14:34 |
Do you think it can be taught? |
| 01:14:38 |
That's true, |
| 01:14:50 |
Isn't that right, Dr Paiva? |
| 01:14:54 |
Love is... |
| 01:14:56 |
...an intimate thing. |
| 01:15:02 |
Maria Loreto, |
| 01:15:04 |
do you agree? |
| 01:15:06 |
If your husband says so! |
| 01:15:08 |
Intimate, but personal. |
| 01:15:10 |
Very personal! |
| 01:15:12 |
You say it's personal. |
| 01:15:13 |
In your particular cases. |
| 01:15:16 |
But mine happen to be different. |
| 01:15:21 |
Of course, we're all different. |
| 01:15:25 |
Men and women, for a start. |
| 01:15:28 |
That's elementary. |
| 01:15:31 |
I reckon hunting and love |
| 01:15:35 |
The hunter pursues his prey |
| 01:15:37 |
and the prey attracts. |
| 01:15:42 |
and love happens. |
| 01:15:44 |
Are you saying women are like games? |
| 01:15:49 |
Not at all Simona, |
| 01:15:53 |
For women, |
| 01:15:57 |
Look at that statuette. |
| 01:16:01 |
She's offering herself |
| 01:16:06 |
You can't tell |
| 01:16:10 |
He has wings, the night and the moon |
| 01:16:15 |
Love is liquid, like clouds. |
| 01:16:18 |
When Psyche awakes, |
| 01:16:22 |
That's why I only like Love |
| 01:16:29 |
What did love mean? |
| 01:16:34 |
For Ema, |
| 01:16:45 |
What do you think, Carlos? |
| 01:16:50 |
What do I think? |
| 01:16:52 |
I live with you... |
| 01:16:59 |
...and I drink to our love, Ema! |
| 01:17:03 |
And also... |
| 01:17:05 |
...to Mrs... |
| 01:17:07 |
...and Mr Semblano. |
| 01:17:09 |
She smiled. |
| 01:17:13 |
unexpectedly witty and irrelevant. |
| 01:17:18 |
Carlos was dependent on her |
| 01:17:22 |
a far cry from the romantic |
| 01:17:28 |
But she was jealous of Maria Loreto. |
| 01:19:26 |
Be quiet, you are leaden. |
| 01:19:29 |
Don't talk of others |
| 01:19:31 |
'Ladies' is such an old-fashioned idea. |
| 01:19:35 |
Do you wear a plumed hat? |
| 01:19:37 |
- No. |
| 01:19:40 |
Only Satan. |
| 01:19:43 |
But how would you know? |
| 01:19:45 |
I'm off. |
| 01:19:48 |
Don't go! |
| 01:19:53 |
Why not? |
| 01:19:54 |
Satan would be afraid of you. |
| 01:19:58 |
Fernando Osório was ruined |
| 01:20:00 |
and so entitled to his fantasies. |
| 01:20:04 |
Ruined, for him, |
| 01:20:08 |
instead of swimming in it. |
| 01:20:23 |
Thank you, Simona, |
| 01:20:32 |
Carlos realized Ema was about |
| 01:20:36 |
He wanted to plan her rashness to fit |
| 01:20:41 |
at least until the sex |
| 01:20:47 |
He offered her Pedro Luminares, |
| 01:20:49 |
a robot, with one advantage: |
| 01:20:55 |
He knew how to talk about love. |
| 01:21:06 |
I've told Simona, |
| 01:21:09 |
I'm a robot ahead of my time... |
| 01:21:14 |
...far beyond sex. |
| 01:21:21 |
Ema had the extraordinary power |
| 01:21:26 |
run like bush fire |
| 01:21:29 |
over corpses of legendary virility, |
| 01:21:33 |
stubborn virility. |
| 01:21:45 |
Luminares wants to show us |
| 01:21:49 |
but he won't act. |
| 01:21:54 |
Ema is a flame. |
| 01:21:58 |
And so beautiful... |
| 01:22:37 |
You're right, she's a flame. |
| 01:22:41 |
Poor Dr Paiva, |
| 01:22:44 |
I bet she moans, |
| 01:22:49 |
Barrack-room talk! |
| 01:22:51 |
Some of them don't moan |
| 01:22:56 |
I bet she makes Carlos groan. |
| 01:22:59 |
During the day! |
| 01:23:00 |
She's spendthrift, |
| 01:23:04 |
Yes... |
| 01:23:05 |
Beauty is beyond price... |
| 01:23:09 |
...and gain! |
| 01:23:12 |
I've heard he wins more |
| 01:23:16 |
...than by working |
| 01:23:37 |
Are you happy, Ema? |
| 01:23:40 |
Yes. |
| 01:23:50 |
Why do you carry a book about? |
| 01:23:52 |
Is it a shield against vice or desire? |
| 01:24:00 |
I've never thought that. |
| 01:24:06 |
I love books. |
| 01:24:08 |
I read wherever I can. |
| 01:24:12 |
The house seemed enchanted, |
| 01:24:15 |
even farmers said so. |
| 01:24:17 |
Luminares was, after a fashion, |
| 01:24:20 |
with an inclination to lethargy. |
| 01:24:25 |
Ema felt belittled. |
| 01:24:27 |
It's there to deceive. |
| 01:24:29 |
Deceive? |
| 01:24:35 |
Am I deceiving you? |
| 01:24:39 |
I think in your case we have |
| 01:24:42 |
'ascension fever'. |
| 01:24:48 |
You have no wings |
| 01:24:51 |
And you don't want |
| 01:24:55 |
Because you believe in gravity. |
| 01:24:59 |
In short, |
| 01:25:00 |
you need a psychiatrist |
| 01:25:06 |
You're wrong. |
| 01:25:08 |
It's stupid to think |
| 01:25:12 |
by a fall or a cold shower. |
| 01:25:14 |
Nothing's that simple. |
| 01:25:17 |
How can you tell |
| 01:25:20 |
What do you tell a woman |
| 01:25:23 |
Man has several ways |
| 01:25:27 |
Art, war, business. |
| 01:25:31 |
Women have no choice. |
| 01:25:33 |
Men can't understand them, |
| 01:25:37 |
Are you happy, Ema? |
| 01:25:38 |
You've already asked. |
| 01:25:41 |
It's cold. Let's go. |
| 01:26:14 |
So here we are, |
| 01:26:18 |
What do you mean? |
| 01:26:23 |
It's time we went Carlos. Goodbye. |
| 01:26:35 |
Excuse me. Goodbye. |
| 01:26:51 |
Carlos can't get used |
| 01:26:53 |
that they sleep separately. |
| 01:26:56 |
What's the reason? |
| 01:26:58 |
It's healthier |
| 01:27:01 |
when he comes home late. |
| 01:27:05 |
Ema doesn't really love Carlos. |
| 01:27:10 |
But Carlos loves her and misses her, |
| 01:27:13 |
the naked skin, the intimacy |
| 01:27:19 |
But Ema, not he, will end up... |
| 01:27:21 |
...killing herself? |
| 01:27:23 |
Yes, I think that's how it'll end. |
| 01:27:27 |
Pregnant? |
| 01:27:29 |
Pregnant? How do you know? |
| 01:27:32 |
Ritinha told me. |
| 01:27:34 |
The washerwoman? |
| 01:27:38 |
Ema visits her father |
| 01:27:43 |
Ritinha's a witch. |
| 01:27:46 |
A witch and indiscreet. |
| 01:28:03 |
It's a crown of stars above my head. |
| 01:28:31 |
They say 'verandah'is a celtic word |
| 01:28:36 |
which is as may be. |
| 01:28:41 |
No one knows why verandahs |
| 01:28:46 |
Like a belly, verandahs |
| 01:28:50 |
and affected desire, |
| 01:28:53 |
which seduces and shows |
| 01:28:58 |
It invites an appraising gaze |
| 01:29:02 |
casting its shade over virginity, |
| 01:29:05 |
being a place of leisure, |
| 01:29:08 |
more sensual than sinful. |
| 01:29:13 |
The verandah of Abraham's Vale |
| 01:29:16 |
Ema lived there, |
| 01:29:23 |
You're beautiful! |
| 01:29:26 |
Don't be silly! |
| 01:29:30 |
Lola was too tall. |
| 01:29:34 |
Luisona was prettier and sweeter |
| 01:29:39 |
and she never ever cried. |
| 01:29:42 |
Ema didn't know what was wrong |
| 01:29:46 |
Since her own mother |
| 01:29:51 |
Nothing affected or hurt her, |
| 01:29:54 |
neither fire nor steel. |
| 01:30:00 |
Run along inside! |
| 01:30:11 |
Are you going to Vesúvio? |
| 01:30:13 |
Yes, I need to rest a few days. |
| 01:30:18 |
Your sisters run everything perfectly, |
| 01:30:23 |
you've your daughters' company. |
| 01:30:25 |
It's hardly the same. |
| 01:30:28 |
I'll only be a few days. |
| 01:30:32 |
Alright. |
| 01:30:36 |
Go then. |
| 01:30:44 |
Out of provocation not desire, |
| 01:30:48 |
Ema began her affair with Osório. |
| 01:30:51 |
Anyone would have done. |
| 01:30:53 |
She furthered this story, |
| 01:30:58 |
was passed in advance |
| 01:31:05 |
Yes, I'm going to Vesúvio. |
| 01:31:17 |
Almost immediately, |
| 01:31:21 |
He was rich, involved in politics, |
| 01:31:26 |
divorced, three sons in college. |
| 01:31:58 |
Look uncle, |
| 01:32:02 |
What about you? |
| 01:32:06 |
Or aren't you in that league? |
| 01:32:11 |
He's rich. If I had money, you'd see! |
| 01:32:15 |
What would I see? |
| 01:32:18 |
How they'd fall for me. |
| 01:32:22 |
You're just a big mouth. |
| 01:32:24 |
Women need special attention. |
| 01:32:30 |
You're too young to know about that. |
| 01:32:33 |
I see! |
| 01:32:34 |
I know more than you think. |
| 01:32:37 |
It's an art, Fortunato. |
| 01:32:40 |
I'm here to tell you that |
| 01:32:43 |
...is the kind that makes men wild. |
| 01:32:46 |
And are you...? |
| 01:32:48 |
Behave yourself! |
| 01:32:52 |
And anyway... |
| 01:32:54 |
Only joking! |
| 01:32:57 |
Hang on, wait for me! |
| 01:33:06 |
Nearby... |
| 01:33:08 |
... stood a jetty against which |
| 01:33:17 |
Two rotten planks might easily break |
| 01:33:24 |
Ema was warned. |
| 01:33:31 |
It was said La Bandi came to Vesúvio |
| 01:33:37 |
Ema listened to Osório's stories |
| 01:33:40 |
and fell into a respectful daydream, |
| 01:33:43 |
fondly remembering Romesal. |
| 01:33:48 |
She knew that, as a European |
| 01:33:53 |
people who did not know |
| 01:34:00 |
If I may discuss opera, |
| 01:34:03 |
since I have the honour of meeting |
| 01:34:09 |
I have to say it makes me sad |
| 01:34:12 |
everything is so vulgar nowadays. |
| 01:34:17 |
There's no opera left. |
| 01:34:19 |
Who are these two guests? |
| 01:34:22 |
The fat one is Baltazar, |
| 01:34:26 |
whom Osório has invited |
| 01:34:30 |
The other, |
| 01:34:34 |
claims kinship |
| 01:34:37 |
on the basis |
| 01:34:39 |
Giulielmo Ongarello, |
| 01:34:43 |
that Doson was Anthony's surname. |
| 01:35:02 |
You think opera is dead. |
| 01:35:04 |
Not at all. |
| 01:35:06 |
But we live in an era |
| 01:35:11 |
Love, for example, |
| 01:35:14 |
Love is not lyrical any more. |
| 01:35:16 |
The pleasures of hypocrisy surpass |
| 01:35:21 |
Really? |
| 01:35:23 |
Dearest Ema... |
| 01:35:25 |
...there's no sensitivity |
| 01:35:30 |
the battle of Alcácer-Quibir, |
| 01:35:33 |
Trafalgar and Waterloo, |
| 01:35:35 |
or the 25th April revolution. |
| 01:35:38 |
You're going too far. |
| 01:35:40 |
Too far? |
| 01:35:42 |
The new institutions |
| 01:35:45 |
and social mobility |
| 01:35:49 |
be they romantic or practical. |
| 01:35:52 |
Yes sir, affection and feelings |
| 01:35:55 |
human gifts which absorbed |
| 01:36:00 |
'Bel Canto' is no longer appreciated |
| 01:36:04 |
and 'Bel Canto' is pure sentiment. |
| 01:36:06 |
That's true. |
| 01:36:08 |
See how the revolution of 1974 |
| 01:36:11 |
marked the end of elegant |
| 01:36:15 |
replacing them with party politics. |
| 01:36:18 |
Agreed. |
| 01:36:20 |
This egalitarianism |
| 01:36:23 |
and it is all-powerful. |
| 01:36:24 |
People wallow in disappointment. |
| 01:36:28 |
Here and in the colonies. |
| 01:36:31 |
There is a jeans bourgeoisie |
| 01:36:33 |
with bursts of righteousness |
| 01:36:36 |
People's attitude to money |
| 01:36:40 |
and to illness, and to sex. |
| 01:36:45 |
Really? Is sex different now? |
| 01:36:49 |
I think it is, Ema. |
| 01:36:54 |
More freedom you mean? |
| 01:36:56 |
More freedom and less feeling. |
| 01:36:59 |
More sex, no love, no affection. |
| 01:37:03 |
More homosexuals, despite AIDS. |
| 01:37:08 |
No more homosexuals nowadays. |
| 01:37:11 |
Are you defending them? |
| 01:37:14 |
Neither defending nor blaming. |
| 01:37:17 |
Just stating facts. |
| 01:37:20 |
Not allowing? |
| 01:37:22 |
I don't allow homosexuality |
| 01:37:28 |
...how shall I put it... |
| 01:37:30 |
...unnatural. |
| 01:37:33 |
That's a relief! |
| 01:37:35 |
Everything can be explained. |
| 01:37:38 |
Perhaps homosexuality |
| 01:37:41 |
is leftover... |
| 01:37:45 |
...androgyny. |
| 01:37:47 |
Androgyny? What's that? |
| 01:37:51 |
It's hard to explain. |
| 01:37:54 |
I mean a trace |
| 01:38:00 |
a unique, primeval creature |
| 01:38:02 |
who exploded violently |
| 01:38:04 |
into male and female parts. |
| 01:38:08 |
You're delirious! |
| 01:38:14 |
It's the truth, I'm serious. |
| 01:38:18 |
There are indications. |
| 01:38:21 |
Why else has a man got nipples? |
| 01:38:25 |
They are totally useless except as... |
| 01:38:28 |
...relics of androgyny. |
| 01:38:31 |
Seems very complicated to me. |
| 01:38:34 |
I don't know how we got on |
| 01:38:38 |
I meant to talk about something else. |
| 01:38:41 |
What? |
| 01:38:42 |
Life isn't about being happy any more |
| 01:38:46 |
or distress or wrestling with fate. |
| 01:38:51 |
What's life for then? |
| 01:38:54 |
Life is about... |
| 01:38:55 |
Yes, what is life about? |
| 01:38:59 |
It's about life... |
| 01:39:02 |
That's a funny answer. |
| 01:39:06 |
...or about not living. |
| 01:39:11 |
Life is about being a statistic. |
| 01:39:17 |
That's the bottom line. |
| 01:39:19 |
Don't you agree? |
| 01:39:22 |
Do you want to disagree? |
| 01:39:24 |
There's your answer. |
| 01:39:26 |
An excellent, most worthy reply! |
| 01:39:31 |
Ema gave herself up |
| 01:39:35 |
deep in her innermost being. |
| 01:39:39 |
She thought permissiveness |
| 01:39:44 |
She knew Osório was trying |
| 01:39:48 |
So was Pedro Luminares |
| 01:39:52 |
with their Faustian ring. |
| 01:40:09 |
How wonderful! |
| 01:40:12 |
What a wonderful view from Vesúvio! |
| 01:40:14 |
It reminds me of the volcano |
| 01:40:16 |
Correct, my friend. |
| 01:40:21 |
Anything else sir? |
| 01:40:23 |
No, that's all. |
| 01:40:25 |
Very good sir. |
| 01:40:38 |
He's like a Russian spy. |
| 01:40:44 |
You soiled that soul, |
| 01:40:56 |
my soul's delight. |
| 01:41:04 |
You had my trust |
| 01:41:12 |
has besmirched the Universe for me. |
| 01:41:23 |
Traitor! |
| 01:41:26 |
Those are your thanks for friendship. |
| 01:42:05 |
Lost sweetness, |
| 01:42:11 |
the memory of a kiss. |
| 00:01:14 |
That man's a spy! |
| 00:01:17 |
Osório loved Ema, he believed |
| 00:01:24 |
but his snobbery came to the fore |
| 00:01:27 |
when he had to listen |
| 00:01:32 |
with her proverbial goodness. |
| 00:01:36 |
Ema fooled no one, she had no plots, |
| 00:01:41 |
she was all show, |
| 00:01:43 |
dressing and behaving |
| 00:01:50 |
Her eroticism was fuelled by power |
| 00:01:56 |
and social status. |
| 00:02:10 |
Hello? |
| 00:02:12 |
It's Mother. It's her! |
| 00:02:17 |
Daddy's out, |
| 00:02:20 |
visiting patients. |
| 00:02:23 |
We're very well, |
| 00:02:28 |
It's nothing, |
| 00:02:32 |
Ask where she is. |
| 00:02:34 |
Where are you, Mummy? |
| 00:02:36 |
Where? |
| 00:02:37 |
At Vesúvio? Is it nice there? |
| 00:02:40 |
We're thinking about you. |
| 00:02:46 |
We miss you. |
| 00:02:47 |
Are you coming back? |
| 00:02:49 |
Wednesday? |
| 00:02:53 |
Alright. |
| 00:02:55 |
Kisses. |
| 00:02:57 |
On Wednesday? |
| 00:03:00 |
Kisses, lots of kisses. Bye, Mummy! |
| 00:03:05 |
Hello? Hello? |
| 00:03:10 |
Mummy's coming home on Wednesday. |
| 00:03:17 |
'Swim as far as you like, |
| 00:03:21 |
as your grandpa used to say. |
| 00:03:29 |
Now she has a weird friend, |
| 00:03:34 |
Weird? Why? |
| 00:03:38 |
She isn't even pretty, |
| 00:03:41 |
She's a hunter and a good rider. |
| 00:03:45 |
She says she was the first upper |
| 00:03:49 |
As far as we know. |
| 00:03:51 |
No, this one raised the child |
| 00:03:58 |
Ema says she likes going |
| 00:04:02 |
and smell the sulphur |
| 00:04:07 |
You know, Maria de Loreto... |
| 00:04:10 |
...Ema admires these things. |
| 00:04:14 |
She admires everything |
| 00:04:20 |
Sometimes I wonder |
| 00:04:25 |
Aren't you trying |
| 00:04:28 |
I don't know what to say. |
| 00:04:31 |
The truth is that |
| 00:04:34 |
because I tolerate all her whims. |
| 00:04:36 |
Well, hoping that one day |
| 00:04:41 |
this provocation she's going through. |
| 00:04:46 |
I don't believe she will. |
| 00:04:48 |
She uses the power of the prophets, |
| 00:04:51 |
frightens to draw attention. |
| 00:04:56 |
Is Ema happy |
| 00:05:00 |
The relationship between Carlos |
| 00:05:02 |
if they were not lovers, |
| 00:05:04 |
at least belonged to a type |
| 00:05:08 |
materialized by words. |
| 00:05:11 |
Carlos had never noticed |
| 00:05:14 |
who looked at him with sympathy. |
| 00:05:17 |
- She has a sweet look. |
| 00:05:23 |
She was a very beautiful woman. |
| 00:05:25 |
It's Catarina, Viscountess |
| 00:05:29 |
It's a Roquemont oil. |
| 00:05:31 |
She was indeed a very understanding |
| 00:05:37 |
I would like to tell you a secret, |
| 00:05:42 |
Anyway, maybe this will help. |
| 00:05:45 |
When I realized that my husband |
| 00:05:48 |
with a preference for young ladies, |
| 00:05:51 |
I understood that there was |
| 00:05:53 |
beyond the common desire |
| 00:05:58 |
Semblano strongly believed |
| 00:06:03 |
which relies on the principle |
| 00:06:07 |
Look, Carlos, |
| 00:06:11 |
In this kind of subject, |
| 00:06:15 |
Don't be shocked, |
| 00:06:19 |
It's not just the controversial |
| 00:06:24 |
Ema limps. |
| 00:06:27 |
Well, that might be exciting |
| 00:06:33 |
but it's her character |
| 00:06:36 |
Let's not talk about this anymore, |
| 00:06:44 |
Exactly! |
| 00:06:45 |
I will show you my... precautions. |
| 00:06:55 |
Ema was a potential enemy |
| 00:06:59 |
who had acquired in the frustrations |
| 00:07:02 |
a spiritual vocation |
| 00:07:07 |
Ema was a malignant intrusion. |
| 00:07:11 |
Perhaps for the same reason: |
| 00:07:13 |
Both women had split personalities. |
| 00:07:23 |
Supposedly unsuited to sex, |
| 00:07:28 |
Maria had certain rights. |
| 00:07:32 |
What was intriguing |
| 00:07:35 |
was that men, |
| 00:07:39 |
were platonically jealous. |
| 00:07:43 |
I believe my husband was degrading |
| 00:07:59 |
In dirty sheets, |
| 00:08:05 |
I've set up a garden house, |
| 00:08:07 |
so he can be more comfortable. |
| 00:08:19 |
I've taken care of everything, |
| 00:08:22 |
from hygiene to luxury. |
| 00:08:28 |
The strangest aspect of this |
| 00:08:33 |
who certainly surrendered |
| 00:08:37 |
also gave in to the moral adventure |
| 00:08:41 |
and remained strictly devoted |
| 00:08:47 |
Love lives in hiding places, |
| 00:08:52 |
See how well I think things out, |
| 00:08:58 |
My husband is getting on |
| 00:09:01 |
and frequent encounters |
| 00:09:06 |
are hardly the cure for his bad legs. |
| 00:09:10 |
You mean... |
| 00:09:12 |
Exactly. I make things easier for him. |
| 00:09:18 |
You're a doctor, you know that. |
| 00:09:21 |
Women get by without, |
| 00:09:25 |
any little thing helps. |
| 00:09:34 |
The bed is a little high |
| 00:09:38 |
for Semblano. |
| 00:09:40 |
He doesn't have your strength. |
| 00:09:47 |
Carlos! Don't misunderstand me. |
| 00:09:52 |
Lord! Maria de Loreto! |
| 00:09:54 |
Don't say anything. |
| 00:09:57 |
I want you to understand. |
| 00:09:59 |
I want to help you. |
| 00:10:02 |
Not as I help my husband. |
| 00:10:04 |
You are a healthy man. |
| 00:10:08 |
I want to help you with Ema. |
| 00:10:12 |
Men and women have similarities |
| 00:10:17 |
As a woman, |
| 00:10:18 |
she's condemned to intrude |
| 00:10:22 |
on thoughts and pleasures |
| 00:10:28 |
I sound like an oracle. |
| 00:10:32 |
I'm giving you |
| 00:10:35 |
who suffered in body and in soul |
| 00:10:39 |
from the demands of a foolish husband |
| 00:10:43 |
and a son, |
| 00:10:46 |
who though a man, |
| 00:10:50 |
He got from his mother |
| 00:10:54 |
Thank you, Carlos. |
| 00:10:57 |
I should thank you |
| 00:11:02 |
I know you as your doctor |
| 00:11:06 |
But there is something indecent |
| 00:11:11 |
in what you are telling me. |
| 00:11:13 |
Yes, there's something indecent in it. |
| 00:11:19 |
You mean Ema's upbringing? |
| 00:11:22 |
I mean Ema's and mine |
| 00:11:27 |
We're educated as women, |
| 00:11:30 |
but our consciences are like a man's. |
| 00:11:37 |
What do you mean? |
| 00:11:39 |
There's something not quite true, |
| 00:11:43 |
the content is not all there, |
| 00:11:46 |
like a missing rib. |
| 00:11:50 |
Eve out of Adam? |
| 00:11:52 |
The difference is imaginary, |
| 00:11:56 |
a women's thing, |
| 00:11:59 |
like a creature that swallows |
| 00:12:05 |
Maternity symbolizes this process, |
| 00:12:08 |
which is to do with absence. |
| 00:12:12 |
The hollowness to which desire tends. |
| 00:12:17 |
Very literary thoughts. |
| 00:12:20 |
Yes, that's what I'm writing about |
| 00:12:25 |
To write is to give expression |
| 00:12:47 |
That's your son, isn't it? |
| 00:13:53 |
So... |
| 00:13:56 |
Have you been sleeping with him? |
| 00:14:08 |
- Do you know what he is? |
| 00:14:11 |
He's dumb and drinks too much. |
| 00:14:14 |
In the ball, right here, |
| 00:14:17 |
The ball... You only talk |
| 00:14:20 |
It's as if nothing else |
| 00:14:23 |
He's stupid, he doesn't even know |
| 00:14:26 |
No one is good enough for you, |
| 00:14:32 |
One gets desperate talking to you. |
| 00:14:37 |
Once, you confessed to me, |
| 00:14:42 |
that, one night, Fernando Osório |
| 00:14:45 |
- Do you remember? |
| 00:14:49 |
I do. |
| 00:14:54 |
Be careful, Ema. |
| 00:14:57 |
Don't let any man do |
| 00:15:02 |
Otherwise you won't emancipate |
| 00:15:05 |
What do you want from him? |
| 00:15:08 |
He's a penny-pincher |
| 00:15:09 |
and his three sons stick like glue, |
| 00:15:12 |
- You introduced me to him. |
| 00:15:16 |
Love has a bad memory. |
| 00:15:20 |
Don't go to Vesúvio again, Ema. |
| 00:15:23 |
Venus doesn't love women like you, |
| 00:15:27 |
you don't know the art of delusion. |
| 00:15:30 |
Is delusion an art? |
| 00:15:34 |
We are not born men or women... |
| 00:15:36 |
...we learn it. |
| 00:15:38 |
You and I contradict that. |
| 00:15:43 |
I know why people call you |
| 00:15:46 |
But you were the one |
| 00:15:48 |
And Loreto, that snake, |
| 00:15:53 |
And why do you call me |
| 00:15:56 |
Because Madame Bovary |
| 00:16:01 |
What you're saying makes sense. |
| 00:16:03 |
And explains a lot. |
| 00:16:06 |
But I won't bother giving it |
| 00:16:28 |
You don't learn with what you think, |
| 00:16:38 |
I never understood |
| 00:16:42 |
And I already read the book twice. |
| 00:16:44 |
It must be a misunderstanding, |
| 00:17:04 |
We can't have friends anywhere. |
| 00:17:11 |
They cause misunderstandings. |
| 00:17:24 |
When she asked an old lover |
| 00:17:27 |
she found a bloke |
| 00:17:32 |
Do you know what he did? |
| 00:17:36 |
He said it perfectly calmly, |
| 00:17:41 |
Well said... and well done. |
| 00:17:56 |
Men are perfect scrooges. |
| 00:18:00 |
It's the only role they don't play, |
| 00:18:07 |
My father, |
| 00:18:10 |
even if it were just for matches, |
| 00:18:13 |
looked like a polished wall |
| 00:18:17 |
A wall that was impossible |
| 00:18:22 |
I robbed him several times. |
| 00:18:26 |
That's how I got around |
| 00:18:31 |
Really? One could expect that |
| 00:18:36 |
You can't really distinguish |
| 00:18:40 |
Comedy gets the better of life. |
| 00:18:43 |
Your life. |
| 00:18:46 |
A theatre performance reduces guilt |
| 00:18:50 |
It's not devastating |
| 00:18:54 |
It's good to listen to you. |
| 00:18:56 |
But is it true? |
| 00:18:59 |
I don't know. |
| 00:19:01 |
There's an empty space in our thought |
| 00:19:06 |
It gives us the ability to speak, |
| 00:19:08 |
to make judgments, |
| 00:19:16 |
We say: |
| 00:19:18 |
'The earth is round. ' |
| 00:19:21 |
Or... 'the woman is the womb'. |
| 00:19:24 |
It makes no sense, |
| 00:19:28 |
What throws you into disorder |
| 00:19:33 |
You say: |
| 00:19:36 |
'Tomorrow I'll be in a place |
| 00:19:40 |
But you want life itself |
| 00:19:43 |
not just the expression of yourself. |
| 00:19:48 |
Fornicating is not just an undoubting, |
| 00:19:53 |
it's also something that displeases |
| 00:19:58 |
That's the way of feeling |
| 00:20:03 |
Do you mean |
| 00:20:14 |
Who is happy in love is a fool. |
| 00:20:48 |
Ema was intent on stepping up |
| 00:20:52 |
in any way she could, |
| 00:20:54 |
including indebtedness |
| 00:21:00 |
It was ephemeral pleasure |
| 00:21:05 |
She was prepared |
| 00:21:07 |
for a semblance of pain. |
| 00:21:29 |
Now she was home |
| 00:21:34 |
a rare occurrence, |
| 00:21:35 |
which Lolota and Luisona resented: |
| 00:21:41 |
It was the feast of Socorro, |
| 00:21:44 |
celebrated |
| 00:21:50 |
As a child, from the conservatory |
| 00:21:55 |
the same display with delight. |
| 00:21:59 |
She remembered the altar |
| 00:22:03 |
and gossiping with the maids |
| 00:22:07 |
Marina and Branca and Alice. |
| 00:22:10 |
Being an orphan was bearable |
| 00:22:13 |
among the laughing women |
| 00:22:16 |
whose absolute mistress she was. |
| 00:22:21 |
But that life had vanished, |
| 00:22:23 |
by subsequent events extinguished, |
| 00:22:28 |
like the magnificent sparks |
| 00:23:10 |
Ema returned to Vesúvio. |
| 00:23:13 |
Osório had gone back to a wife |
| 00:23:18 |
Neither he nor Ema |
| 00:23:34 |
Disappointed by Osório's absence, |
| 00:23:37 |
Ema put on a blue jumpsuit |
| 00:23:39 |
to go mad in a motor boat. |
| 00:24:29 |
Can I help you, Mrs Paiva? |
| 00:24:31 |
You've never offered before. |
| 00:24:34 |
You're alone today. |
| 00:24:36 |
You've seen me alone before. |
| 00:24:41 |
Yes, but... |
| 00:24:43 |
Forgive me, but... |
| 00:24:46 |
What is it? |
| 00:24:48 |
You're rough on that boat. |
| 00:24:51 |
Only on the boat? |
| 00:24:53 |
Would you rescue me if I capsized? |
| 00:24:55 |
Of course. I wouldn't let it capsize. |
| 00:24:59 |
Even if you died? |
| 00:25:04 |
Even if I died. |
| 00:25:06 |
Really? |
| 00:25:09 |
If I had to. |
| 00:25:11 |
I'd give my life for you. |
| 00:25:15 |
All right. Come with me. |
| 00:25:29 |
Be careful. |
| 00:25:32 |
Two of those planks are rotten. |
| 00:25:34 |
I'm not a child, |
| 00:25:38 |
I know. |
| 00:25:40 |
Am I safer with you? |
| 00:25:42 |
It's easy to forget. |
| 00:26:44 |
What kind of a Bovary? |
| 00:26:47 |
Ema's lust was just imaginary. |
| 00:26:51 |
And all she wanted from men |
| 00:26:54 |
was their desire. |
| 00:26:59 |
It wasn't pleasure, |
| 00:27:01 |
but more a reward to the men |
| 00:27:11 |
A scent of roses struck |
| 00:27:15 |
He glimpsed Ema |
| 00:27:20 |
She was at peace, |
| 00:27:22 |
sleeves buttoned up, |
| 00:28:12 |
She did not let him possess her, |
| 00:28:16 |
but the caresses she allowed him |
| 00:28:21 |
as if he had been wounded |
| 00:28:32 |
This refusal was also loyalty |
| 00:28:37 |
Ema was not doing wrong. |
| 00:28:40 |
She was inaugurating a vice. |
| 00:28:43 |
Good morning, Mrs Paiva. |
| 00:28:50 |
Good morning. You may go. |
| 00:28:52 |
Don't you want the curtains drawn? |
| 00:28:54 |
Please. Then leave. |
| 00:28:55 |
Very well. |
| 00:28:58 |
Ema's behaviour stirred |
| 00:29:00 |
and his physical desire. |
| 00:29:05 |
Fortunato! |
| 00:29:22 |
What's going on |
| 00:29:26 |
What's going on? |
| 00:29:29 |
I have to keep an eye |
| 00:29:32 |
Aren't I the butler? |
| 00:29:36 |
Anyway... |
| 00:29:38 |
I don't like this intimacy. |
| 00:29:40 |
And Mr Osório will like it even less |
| 00:29:47 |
Just watch out. |
| 00:29:51 |
You're jealous! |
| 00:29:53 |
Have some respect. I'm your uncle |
| 00:29:56 |
and you're speaking |
| 00:30:00 |
in a house built by the firm will |
| 00:30:04 |
the boss' great-great-grandmother. |
| 00:30:09 |
Have some respect. |
| 00:30:21 |
Osório was away when Ema arrived. |
| 00:30:24 |
Ema left a couple of days |
| 00:30:28 |
Even in the days of their intimacy |
| 00:30:31 |
their kisses had been light, |
| 00:30:38 |
Only when she was with Fortunato |
| 00:30:43 |
under a mysterious constraint |
| 00:30:48 |
a bitterness which found its release. |
| 00:30:53 |
Like a savage, sometimes tender, |
| 00:30:59 |
Ema flung herself |
| 00:31:02 |
Caires spied on them, |
| 00:31:08 |
Ema and Fortunato's pleasure |
| 00:33:39 |
Was it love which brought Ema |
| 00:33:43 |
Vesúvio, with My Lady's House, |
| 00:33:46 |
patios full of palm trees, |
| 00:33:49 |
above all a return to harmony |
| 00:33:55 |
with the odour of the presses |
| 00:33:58 |
and brandy dripping into buckets. |
| 00:34:03 |
My Lady's had had a first husband |
| 00:34:09 |
and a second |
| 00:34:13 |
called 'the late lamented' |
| 00:34:16 |
and last, her favourite, |
| 00:34:17 |
because he was good at business, |
| 00:34:21 |
between them, not sheets |
| 00:34:26 |
My Lady called him 'the departed'. |
| 00:34:36 |
Time passed. |
| 00:34:39 |
Fortunato took fright |
| 00:34:43 |
to recover from high-flown sentiments |
| 00:34:46 |
which were not in any case his lot. |
| 00:34:51 |
Osório was away. |
| 00:34:53 |
Ema knew he'd stayed |
| 00:34:57 |
where the carpet-pile |
| 00:35:03 |
Ema returned to Vesúvio |
| 00:35:05 |
and heard stories about My Lady, |
| 00:35:09 |
who was said to be |
| 00:35:13 |
and estate-management. |
| 00:35:16 |
She scared off burglars, |
| 00:35:19 |
fearlessly. |
| 00:35:24 |
The burglars left sheepishly, |
| 00:35:29 |
not even looking up at the chandeliers |
| 00:35:33 |
which My Lady snuffed out |
| 00:35:38 |
wiping off the soot with the palm |
| 00:35:52 |
Mrs Paiva! |
| 00:35:57 |
What are you doing? |
| 00:36:01 |
Barefoot and all... |
| 00:36:03 |
I like to feel the warmth |
| 00:36:10 |
But a lady like yourself, |
| 00:36:16 |
Childhood memories, Caires. |
| 00:36:18 |
I used to help Marina and Branca |
| 00:36:22 |
Good for the mind, |
| 00:36:59 |
Leave that to the bosses, |
| 00:37:08 |
Leave it to the bosses? |
| 00:37:20 |
A woman like you... |
| 00:37:23 |
...shouldn't do anything. |
| 00:37:26 |
But I like scrubbing! |
| 00:37:29 |
You must be a dyke. |
| 00:37:31 |
Is that all you can say? Filth! |
| 00:37:34 |
I'm not filthy, I'm just a man. |
| 00:37:38 |
You give me the... |
| 00:37:40 |
Pig! Answer my question. |
| 00:37:44 |
What question? |
| 00:37:45 |
You know. Just tell me. |
| 00:37:48 |
Why should I tell the bosses |
| 00:37:54 |
To make a point! |
| 00:37:56 |
What point? |
| 00:37:57 |
That's it! |
| 00:37:58 |
What point? |
| 00:38:00 |
You've got rights. |
| 00:38:01 |
What rights? |
| 00:38:04 |
A worker's rights! |
| 00:38:08 |
But if they do the work, |
| 00:38:14 |
I'm the boss and they're the workers. |
| 00:38:22 |
I've got a real fascist here! |
| 00:38:29 |
What do you want? |
| 00:38:32 |
Nothing, boss. |
| 00:38:34 |
Pedro didn't come and they sent me |
| 00:38:37 |
Put it down on the step |
| 00:39:06 |
Did he behave badly? |
| 00:39:09 |
He didn't know who I was. |
| 00:39:12 |
It was very funny. |
| 00:39:20 |
You shouldn't trust people like that. |
| 00:39:23 |
He looked like a scoundrel. |
| 00:39:26 |
You should be careful. |
| 00:39:28 |
Of him? Or of you too? |
| 00:39:32 |
Mrs Paiva! I know how to treat a lady. |
| 00:39:36 |
I have a great deal |
| 00:39:40 |
I respect you profoundly. |
| 00:39:45 |
Your wish is my command. |
| 00:39:48 |
You are everything to me. |
| 00:39:52 |
If only you knew what was inside me... |
| 00:39:56 |
I think only of you. |
| 00:40:04 |
If you wish... |
| 00:40:07 |
What wouldn't I do for you? |
| 00:40:10 |
Caires, what is this? Let me go. |
| 00:40:13 |
With the greatest respect. |
| 00:40:17 |
My confession was sincere. |
| 00:40:21 |
And heartfelt, most heartfelt. |
| 00:40:32 |
I'm not a layabout like Fortunato. |
| 00:40:39 |
I'm Caires, |
| 00:40:44 |
I'm not to be despised like a dog. |
| 00:40:55 |
You're a rascal, Caires. |
| 00:41:04 |
I am unhappy. |
| 00:41:14 |
Unfortunate. |
| 00:41:21 |
A poor devil. |
| 00:41:28 |
A flunkey. |
| 00:41:38 |
Unfortunate. |
| 00:41:44 |
A poor devil. |
| 00:41:49 |
Flunkey. |
| 00:41:56 |
Only My Lady, dressed in black, |
| 00:42:00 |
stared at her ancestrally, |
| 00:42:07 |
When Osório telephoned |
| 00:42:11 |
Ema pretended |
| 00:42:20 |
'Go, my girl. ' |
| 00:42:22 |
'I shall receive this ass |
| 00:42:32 |
Ema thought My Lady could have |
| 00:42:38 |
and thrown it from Vesúvio |
| 00:43:06 |
You think like a man, as a woman |
| 00:43:10 |
Your inhuman pride is wounded |
| 00:43:14 |
and all you feel is apathy. |
| 00:43:16 |
You know how to think |
| 00:43:20 |
It is of no use to you. |
| 00:43:22 |
Your shoulders are covered |
| 00:43:26 |
Don't you wash your hair? |
| 00:43:29 |
That's typical of you. |
| 00:43:32 |
I need to be a woman |
| 00:43:35 |
There's no dandruff. |
| 00:43:36 |
No, but something similar. |
| 00:43:41 |
Dust perhaps. |
| 00:43:43 |
You can detect dandruff |
| 00:43:45 |
against the white of my jacket. |
| 00:43:48 |
Luminares told the story |
| 00:43:51 |
who had her hair washed |
| 00:43:56 |
She was half dead. |
| 00:43:58 |
Water dripped off an oilcloth |
| 00:44:02 |
She chose a tint, |
| 00:44:05 |
but wouldn't look in the mirror. |
| 00:44:13 |
The sensualness of things |
| 00:44:17 |
that comes with death, |
| 00:44:21 |
that's what she must have felt. |
| 00:44:25 |
Only a woman would do that. |
| 00:44:27 |
But I'm a man, according to you. |
| 00:44:30 |
Flaubert said, |
| 00:44:35 |
And Flaubert was a man. |
| 00:44:37 |
They call me 'little Bovary,' |
| 00:44:42 |
Still less Flaubert. |
| 00:44:44 |
We share the same first name, |
| 00:44:50 |
A Cardeano by birth, |
| 00:44:53 |
a Paiva by marriage. |
| 00:44:57 |
Ema Cardeano Paiva. |
| 00:45:05 |
Are you mocking me? |
| 00:45:06 |
No. |
| 00:45:09 |
I speak with unhealthy affection. |
| 00:45:12 |
Don't be amazed |
| 00:45:15 |
I have no future. |
| 00:45:17 |
Don't be big-headed. |
| 00:45:19 |
I am not big-headed. |
| 00:45:21 |
I am all in the past. |
| 00:45:26 |
You say you don't have one, |
| 00:45:30 |
The bottomless well of desire... |
| 00:45:33 |
You are implacable. |
| 00:45:35 |
Life... |
| 00:45:38 |
Life is implacable. Not me. |
| 00:45:41 |
Wasn't it you who said |
| 00:45:45 |
...who begs and never bites? |
| 00:45:47 |
He has an undertaker's soul. |
| 00:45:50 |
The bills he sends |
| 00:45:52 |
after a funeral |
| 00:46:13 |
Dearest... |
| 00:46:19 |
Who pays for your luxuries? |
| 00:46:24 |
Money must come from somewhere. |
| 00:46:27 |
I don't know. He hides what he earns, |
| 00:46:32 |
He has stocks and shares, |
| 00:46:36 |
Women are selling gold |
| 00:46:42 |
Luminares wondered |
| 00:46:45 |
have made a good La Valliére. |
| 00:46:51 |
She even possessed the flaw |
| 00:46:53 |
that stimulates beauty |
| 00:46:57 |
Satan too was lame. |
| 00:47:01 |
Beauty must contain a warning |
| 00:47:09 |
Ema tasted evil |
| 00:47:14 |
a wine many times strained, passed |
| 00:47:20 |
rounded, strange, deep. |
| 00:47:46 |
A criminal record of sorts: |
| 00:47:48 |
That badness which a woman |
| 00:47:52 |
her pleasures, duties, |
| 00:47:59 |
You couldn't imagine her |
| 00:48:03 |
though she might dip men's hearts |
| 00:48:05 |
in a spice that gives the earth salt |
| 00:48:14 |
Listen. Are you ever unfaithful |
| 00:48:19 |
No. |
| 00:48:21 |
I am not that sordid. |
| 00:48:28 |
I'm not a ladies' man, believe me. |
| 00:48:31 |
Are men becoming intelligent then? |
| 00:48:35 |
What will happen if vanity vanishes? |
| 00:48:40 |
Laughter will dry up |
| 00:48:42 |
and men will sigh like sick women. |
| 00:48:46 |
This is a dirge. |
| 00:48:49 |
You are so lovely! |
| 00:48:54 |
So utterly beautiful. |
| 00:49:01 |
I am ashamed of my beauty |
| 00:49:07 |
Don't be. |
| 00:49:09 |
Give a thirsty man a drink. |
| 00:49:13 |
But I'm not thirsty. |
| 00:49:19 |
Ema assumed he was mocking her. |
| 00:50:31 |
What happened to poor Ema? |
| 00:50:34 |
- The moon will blush. |
| 00:50:40 |
I say that because nobody |
| 00:50:46 |
And what will happen to us both? |
| 00:50:51 |
A love between two persons. |
| 00:50:54 |
A love as spiteful |
| 00:51:00 |
Men built castles, |
| 00:51:02 |
locked themselves in and reigned |
| 00:51:07 |
including their wives and mistresses. |
| 00:51:10 |
Ema survived countless failures |
| 00:51:16 |
Luminares was opposed to Ema's |
| 00:51:19 |
his wife's charms, seen from |
| 00:51:30 |
But women had to be put on a level |
| 00:51:36 |
Some women couldn't stand it, |
| 00:51:39 |
and they would often look like men. |
| 00:51:44 |
What did Ema think of purity? |
| 00:51:47 |
To be deprived of desire, |
| 00:51:49 |
which comforts us by having |
| 00:51:54 |
Humour that despises |
| 00:51:56 |
and turns its bouncing sovereignty |
| 00:52:10 |
Cardeano welcomed Carlos, |
| 00:52:13 |
and they met like two persons |
| 00:52:17 |
without trying to interpret |
| 00:52:24 |
Carlos would call himself 'virtuous,' |
| 00:52:31 |
Once, when he was already married, |
| 00:52:35 |
he took one of his nurses |
| 00:52:39 |
... her temporary love |
| 00:52:46 |
Ema grew up in an unsuitable |
| 00:52:50 |
suitable for the secrets of life, |
| 00:52:52 |
fully identifiable with desire |
| 00:52:58 |
Your daughter, Mr Cardeano... |
| 00:53:03 |
I don't know how to restrain her. |
| 00:53:09 |
I don't want to repress her, |
| 00:53:13 |
But the truth is, she is never home. |
| 00:53:17 |
For long periods. |
| 00:53:22 |
I have given her everything. |
| 00:53:25 |
Ema likes having a lot of luxuries. |
| 00:53:29 |
- Who are her friends? |
| 00:53:34 |
She seeks refuge in Vesúvio, |
| 00:53:38 |
At Osório's estate? |
| 00:53:42 |
- She stays there with him? |
| 00:53:45 |
Fernando isn't even there, |
| 00:53:48 |
She just likes the place, |
| 00:53:56 |
And I think she has a friend, |
| 00:54:00 |
a very weird woman |
| 00:54:05 |
A person I never met |
| 00:54:26 |
She has another friend, |
| 00:54:31 |
a refined man, |
| 00:54:37 |
I think he restrains her a bit. |
| 00:54:41 |
He's a true gentleman. |
| 00:54:45 |
I'm always waiting for her... |
| 00:54:51 |
I think she is lost. |
| 00:54:54 |
I live in uncertainty, |
| 00:54:57 |
afraid that someone will bring her |
| 00:55:05 |
That's terrible! |
| 00:55:15 |
How did you come up with that? |
| 00:55:17 |
Calm down. |
| 00:55:20 |
Ema just went astray. |
| 00:56:03 |
A face like hers |
| 00:56:07 |
Cardeano thought he was mad |
| 00:56:11 |
He thought that maybe Ema |
| 00:56:14 |
this one was too soft, and |
| 00:56:19 |
Cardeano thought it wasn't good |
| 00:56:23 |
Carlos had what he deserved. |
| 00:56:26 |
There's another thing. |
| 00:56:28 |
It's very serious. |
| 00:56:31 |
If it's so serious, just say it. |
| 00:56:33 |
It's serious and delicate, |
| 00:56:36 |
Say it! |
| 00:56:41 |
Just say it! |
| 00:56:46 |
It's your granddaughter, Lolota. |
| 00:56:50 |
What about her? |
| 00:56:53 |
She said in front of me, |
| 00:56:56 |
as if it were quite normal, |
| 00:56:58 |
Pregnant? A single young lady? |
| 00:57:05 |
Lolota was a 14-year-old girl |
| 00:57:08 |
and reading women's magazines |
| 00:57:10 |
to learn about the ruling families |
| 00:57:15 |
She became snobbish and only talked |
| 00:57:20 |
But nobody cared. |
| 00:57:23 |
But is it true? |
| 00:57:27 |
It's true. She said she was pregnant, |
| 00:57:32 |
and started to devour candies. |
| 00:57:34 |
- Devour? |
| 00:57:42 |
To devour candies? |
| 00:57:45 |
I spoke to her in a tender way, |
| 00:57:49 |
And who is the scoundrel? |
| 00:57:50 |
She answered candidly, |
| 00:57:54 |
- No one? |
| 00:57:58 |
She asked if it could have |
| 00:58:02 |
In the bath? |
| 00:58:06 |
- What does Ema say to that? |
| 00:58:11 |
That Lolota is a comedienne, |
| 00:58:16 |
and doesn't even have |
| 00:58:18 |
girls usually have for rock stars. |
| 00:58:24 |
So... This young lady |
| 00:58:31 |
Or is it you? |
| 00:58:35 |
I don't understand. |
| 00:58:40 |
It's up to you. |
| 00:58:42 |
You raised her. It's the result |
| 00:58:46 |
It's your responsibility. |
| 00:58:52 |
Deal with it the best you can, |
| 00:59:00 |
It's your problem. |
| 00:59:08 |
Bye, bye. |
| 00:59:21 |
All of it seemed inexcusable |
| 00:59:26 |
Ema, who lived like a mole, |
| 00:59:29 |
desperately digging tunnels. |
| 00:59:34 |
A selfish father, |
| 00:59:37 |
and him, Carlos, |
| 00:59:42 |
in a passion that blinded him |
| 00:59:51 |
Old Semblano died |
| 00:59:54 |
and at the estate Loreto suffered |
| 00:59:57 |
who was more faithful |
| 01:00:00 |
Maria Semblano knew that her son |
| 01:00:05 |
But young Semblano |
| 01:00:07 |
was hesitant in letting her |
| 01:00:11 |
But Ema's beauty would be a waste |
| 01:00:16 |
and still had a physical effect. |
| 01:00:23 |
- Why now? |
| 01:00:25 |
We are here now and we want |
| 01:00:29 |
You have to, you have to. |
| 01:00:32 |
- We want to hear you. |
| 01:00:41 |
Come on, son, don't be shy, |
| 01:00:53 |
He's the opposite of his father, |
| 01:00:57 |
His shyness comes from |
| 01:01:00 |
- He's an artist, like his mother. |
| 01:01:11 |
- He's a very attractive young man. |
| 01:01:15 |
There's an uncommon |
| 01:01:18 |
He would be great |
| 01:01:21 |
You think? |
| 01:01:24 |
- Don't you think so, Carlos? |
| 01:01:29 |
They would make a lovely couple. |
| 01:01:35 |
Yes, if they wanted to. |
| 01:01:39 |
But please, don't stand there. |
| 01:02:00 |
That uniform with medals |
| 01:02:02 |
reminded her of the altar |
| 01:02:08 |
Dossem never really |
| 01:02:12 |
He thought she was... puzzling. |
| 01:02:17 |
If the woman is the muse, |
| 01:02:23 |
Why do you always say |
| 01:02:28 |
It's the least I can do |
| 01:02:33 |
Dossem, again? |
| 01:02:52 |
Your young Semblano |
| 01:02:56 |
Thank you. |
| 01:03:00 |
Always flattering, |
| 01:03:07 |
Maria do Loreto, please... |
| 01:03:41 |
What's the young man's first name? |
| 01:03:45 |
Narciso. |
| 01:03:49 |
It couldn't have suited him better. |
| 01:03:51 |
What are you going to play? |
| 01:03:55 |
What are you going to play, son? |
| 01:03:59 |
The fourth string aria from Bach. |
| 01:06:34 |
Seen from behind, |
| 01:06:41 |
Did you regret coming with me? |
| 01:06:46 |
Are you saying that because |
| 01:06:51 |
No, you didn't disappoint me. |
| 01:06:58 |
The young man felt reality |
| 01:07:02 |
Ema's beauty, elaborated to the |
| 01:07:06 |
gave him the idea that the world |
| 01:07:09 |
things that belong to privacy |
| 01:07:13 |
like sex and bread. |
| 01:07:16 |
When I was a child and I wanted |
| 01:07:20 |
people always told me "rose" |
| 01:07:26 |
because I wanted to know more. |
| 01:07:33 |
Why "rose"? |
| 01:07:38 |
as if she had to prove |
| 01:07:42 |
'Don't be silly! It's its name', |
| 01:07:49 |
For her, God was everywhere |
| 01:08:01 |
Later, I found out that, |
| 01:08:05 |
'rose' meant 'swinging' |
| 01:08:11 |
A very brief image of the flower, |
| 01:08:18 |
its leaves about to fall. |
| 01:08:25 |
When the wind touches it, |
| 01:08:33 |
In its swing it is a rose, |
| 01:08:42 |
What do you mean by that? |
| 01:08:45 |
That you are a rose? |
| 01:08:57 |
I'm nothing. |
| 01:09:31 |
Stop, Narciso! |
| 01:09:40 |
That melody makes me sad. |
| 01:09:44 |
Let's go. |
| 01:11:09 |
- What's wrong with that? |
| 01:11:13 |
It's almost offensive to the industry |
| 01:11:17 |
That poor woman scrubbing cloths, |
| 01:11:22 |
It's completely surreal. |
| 01:11:29 |
but you don't know the situation. |
| 01:11:33 |
I don't know if I ever mentioned her. |
| 01:11:36 |
If I didn't, |
| 01:11:41 |
- What are you going to tell me? |
| 01:11:45 |
She was already a washerwoman |
| 01:11:50 |
I was born and raised with her. |
| 01:11:56 |
But she doesn't talk nor hear. |
| 01:12:00 |
She's deaf, deaf-and-dumb. |
| 01:12:05 |
She can't do anything else. |
| 01:12:10 |
and even a virgin, I think. |
| 01:12:16 |
but washing clothes makes her |
| 01:12:21 |
I didn't know. But... |
| 01:12:25 |
She seemed smart to me. |
| 01:12:28 |
She's very smart. |
| 01:12:35 |
She's a closed book |
| 01:12:39 |
And deaf as she is, everything |
| 01:12:47 |
You mean, if she didn't have |
| 01:12:52 |
See, you understand. |
| 01:12:55 |
We have a mutual esteem |
| 01:13:00 |
Even if she could talk, |
| 01:13:05 |
She was dedicated |
| 01:13:10 |
There's this connection between us, |
| 01:13:15 |
how should I say, primal. |
| 01:13:19 |
She dedicated her whole life to work, |
| 01:13:23 |
simply out of devotion, |
| 01:13:28 |
But they forgot to give her a medal, |
| 01:13:31 |
like they did to the old lady |
| 01:13:35 |
For her good services. |
| 01:13:44 |
They haven't committed |
| 01:13:48 |
There are people |
| 01:13:51 |
- Like Ritinha? |
| 01:13:55 |
And like my mother, |
| 01:13:58 |
We are nothing, we are slaves. |
| 01:14:44 |
What a pleasant surprise! |
| 01:14:46 |
I was really being ungraceful, |
| 01:14:49 |
That's all right, |
| 01:14:52 |
Sit down, please. |
| 01:14:55 |
Sit down, girls. |
| 01:15:00 |
The queen often ruled |
| 01:15:04 |
And nowadays, |
| 01:15:06 |
there is sometimes |
| 01:15:10 |
And women do it as well or as badly |
| 01:15:15 |
Why? A woman in power |
| 01:15:17 |
I would say it never was. |
| 01:15:21 |
Were you talking about matriarchies? |
| 01:15:23 |
No, I was talking about the world |
| 01:15:29 |
about what they call 'progress'. |
| 01:15:33 |
About hunger, misery and unfairness. |
| 01:15:38 |
Straightforward to the worst! |
| 01:15:40 |
Well, I was talking about wrong ways. |
| 01:15:45 |
It created a civilization, right, |
| 01:15:49 |
It took advantage of the things |
| 01:15:52 |
What did it give them in exchange? |
| 01:15:54 |
It created a market |
| 01:16:02 |
Don't you think it's regrettable? |
| 01:16:05 |
I think you're overreacting a bit, |
| 01:16:07 |
No, I don't think so. |
| 01:16:11 |
What civilized Europe produces today |
| 01:16:16 |
Hunger and unfairness. |
| 01:16:21 |
You speak like a rebel. |
| 01:16:24 |
In a way, I am. |
| 01:16:27 |
But a peaceful one. |
| 01:16:29 |
Peaceful like a dandy, |
| 01:16:35 |
- Isn't that what you are? |
| 01:16:41 |
But I don't know where's |
| 01:16:45 |
and much less with the idea |
| 01:16:50 |
The problem |
| 01:16:55 |
'Ethics' with capital 'e'. |
| 01:17:01 |
Europe made it all up |
| 01:17:07 |
As far as I know, |
| 01:17:12 |
Isn't that a bit drastic? |
| 01:17:15 |
Well, people take punishment |
| 01:17:22 |
pride for nobility. |
| 01:17:26 |
Which Europe are you describing? |
| 01:17:33 |
who have fun at the parties |
| 01:17:38 |
No, I don't leave that one out, |
| 01:17:42 |
I don't leave out the republics |
| 01:17:46 |
They spread like democracies |
| 01:17:49 |
throughout the East and the West. |
| 01:17:53 |
I know that people, |
| 01:17:56 |
are part of mankind. |
| 01:17:59 |
That's exactly |
| 01:18:03 |
Civilization degenerated |
| 01:18:06 |
and mankind became the virus |
| 01:18:12 |
This Europe, |
| 01:18:16 |
created the concept |
| 01:18:20 |
and is a victim of its own making. |
| 01:18:23 |
Europe realized it maybe too late |
| 01:18:25 |
and feels forced |
| 01:18:28 |
She's desperately trying to do it |
| 01:18:33 |
I may agree with you, |
| 01:18:37 |
All that you've been saying... |
| 01:18:41 |
It's very complicated |
| 01:18:43 |
By the way, I'm curious, |
| 01:18:45 |
what about |
| 01:18:47 |
Are they exempt from this argument |
| 01:18:51 |
The United States |
| 01:18:53 |
Sons and heirs |
| 01:18:57 |
But they are under saxon influence, |
| 01:19:01 |
though the mediterranean root |
| 01:19:06 |
Yes, I understand. |
| 01:19:10 |
But they received that culture. |
| 01:19:13 |
Don't you think that at least that |
| 01:19:18 |
They received a culture |
| 01:19:21 |
But both aren't fulfilled yet, |
| 01:19:24 |
They were corrupted, |
| 01:19:26 |
profaned by excessive and |
| 01:19:32 |
It's strange... |
| 01:19:36 |
It's very strange, your... |
| 01:19:43 |
- Pessimistic enthusiasm. |
| 01:19:48 |
On the contrary, |
| 01:19:49 |
I know I'm not a so-called |
| 01:19:53 |
If I dare talk about these things, |
| 01:19:55 |
it's with a spirit and sensitiveness |
| 01:20:02 |
An artist or an aristocrat? |
| 01:20:06 |
I didn't say 'artist', |
| 01:20:11 |
An artist has a poetic vision |
| 01:20:16 |
that's why he suffers. |
| 01:20:21 |
Yes, Ema. Suffers the shock |
| 01:20:32 |
Daddy! |
| 01:20:37 |
This cat is impertinent! |
| 01:20:40 |
Isn't it your impertinence? |
| 01:20:43 |
Ema, please... |
| 01:20:44 |
I'm so sorry, |
| 01:20:46 |
what I've been saying |
| 01:20:50 |
No, it's not. I'm delighted |
| 01:20:53 |
I have to go, anyway. |
| 01:20:55 |
I have a meeting. |
| 01:20:57 |
Thanks a lot for your kindness. |
| 01:20:59 |
- You really must go... |
| 01:21:02 |
That's a shame! |
| 01:21:04 |
Then I insist on taking you |
| 01:22:14 |
I'm amazed! |
| 01:22:16 |
I didn't recognise you, |
| 01:22:20 |
What have you been doing, Caires? |
| 01:22:24 |
I've worked abroad a few years. |
| 01:22:27 |
- You did? Where? |
| 01:22:33 |
I met some English people in Vesúvio, |
| 01:22:38 |
- And was it good for you there? |
| 01:22:41 |
It was a bit hard at first, |
| 01:22:44 |
but with the help of a few friends, |
| 01:22:48 |
And things went all right. |
| 01:22:53 |
No, Mrs Paiva, only to pay a visit. |
| 01:22:57 |
A visit? Are you angry |
| 01:23:00 |
No, Mrs Paiva, |
| 01:23:05 |
I bought an estate, |
| 01:23:08 |
I don't want to brag, |
| 01:23:09 |
but it's a big estate, |
| 01:23:13 |
Not as big as Vesúvio's, |
| 01:23:18 |
I would like to invite you, |
| 01:23:23 |
and Mr Paiva too, of course, |
| 01:23:28 |
We'll think about it. |
| 01:23:33 |
I must see a patient now. |
| 01:23:38 |
Goodbye. See you. |
| 01:23:43 |
Sit down, Caires. |
| 01:23:46 |
Excuse me. |
| 01:23:48 |
Mrs Paiva, |
| 01:23:54 |
I'm rich now, very rich. |
| 01:24:00 |
Well done! What about your nephew, |
| 01:24:05 |
Don't even mention him. |
| 01:24:08 |
He has become a revolutionary. |
| 01:24:10 |
He left his wife and went to our |
| 01:24:15 |
So, he left his wife? |
| 01:24:19 |
Yes, he did. He's wicked. |
| 01:24:22 |
He only thinks about himself |
| 01:24:29 |
Mrs Paiva, I know, |
| 01:24:33 |
I was told that Mr Paiva... |
| 01:24:39 |
...that Mr Paiva had lost money |
| 01:24:43 |
well, that he had financial problems. |
| 01:24:47 |
Who told you that? |
| 01:24:49 |
People know these things. |
| 01:24:55 |
I wanted to tell you that... |
| 01:25:00 |
Say it. |
| 01:25:07 |
Mrs Paiva, you know... |
| 01:25:09 |
...you know the feelings I've had |
| 01:25:15 |
When I was abroad, the only thing |
| 01:25:21 |
How I missed you... |
| 01:25:25 |
And what do you want now? |
| 01:25:33 |
I can help you financially. |
| 01:25:40 |
I only think of you, Ema. |
| 01:25:45 |
Caires... |
| 01:25:47 |
I will do anything for you, Ema. |
| 01:25:51 |
You don't know the love I feel |
| 01:25:57 |
Caires, you won't cut |
| 01:26:01 |
Get up and leave. |
| 01:26:05 |
My daughters will be here any second |
| 01:26:07 |
and I don't want them |
| 01:26:12 |
Well, if you don't leave, I will. |
| 01:26:20 |
Ema felt humiliated. |
| 01:26:23 |
Suddenly, she thought it would take |
| 01:26:27 |
war, prison and written history |
| 01:26:37 |
'You're beautiful', said the princess, |
| 01:26:44 |
'My maid is more useful than you. ' |
| 01:26:48 |
'Watch how she serves. ' |
| 01:26:50 |
'The way she lets the mint liquor |
| 01:26:55 |
'She waits and puts it down quietly. ' |
| 01:26:59 |
'Only after the drop returns to the |
| 01:27:04 |
'does she put it down, making sure |
| 01:27:10 |
'Could you be that steady? ' |
| 01:27:13 |
'That absolute surrender,' |
| 01:27:16 |
'letting go of yourself |
| 01:27:19 |
'because that is serving. |
| 01:31:06 |
Ema ran away again. |
| 01:31:11 |
And she came back to Vesúvio, |
| 01:31:13 |
where there was no one |
| 01:31:18 |
The next morning |
| 01:31:19 |
men were pruning |
| 01:31:24 |
When Ema woke up, |
| 01:31:28 |
that she couldn't articulate anymore. |
| 01:31:34 |
'I didn't learn the human skeleton, |
| 01:31:39 |
'or to turn the head. ' |
| 01:31:42 |
'It's not a habit, it's the perfect |
| 01:31:49 |
'The connection between things, |
| 01:31:56 |
The vineyards of Douro |
| 01:31:58 |
are one of the most impressive |
| 01:32:02 |
only comparable to the rice fields |
| 01:32:06 |
also planted in terraces. |
| 01:32:10 |
A place like this will never die, |
| 01:32:13 |
It's an honour to suffer, |
| 01:32:17 |
fated to live in torment, |
| 01:32:21 |
as we can see by the shape |
| 01:32:24 |
curved, nodulous, |
| 01:32:27 |
scaly, black. |
| 01:32:34 |
And, on the third day, |
| 01:32:36 |
the sun shone, surprisingly |
| 01:34:46 |
'Go back to your little |
| 01:34:49 |
'your sentimental statement |
| 01:34:53 |
'We don't lose a pure heart, |
| 01:35:20 |
Ema dressed up |
| 01:35:25 |
and she asked herself |
| 01:35:28 |
in her visits to Vesúvio, |
| 01:35:31 |
or if it was My Lady |
| 01:35:35 |
like a maid who always returns |
| 01:35:42 |
She left the bouquet for My Lady |
| 01:35:46 |
and went through the orange grove, |
| 01:35:48 |
which reminded her of her virginity. |
| 01:37:07 |
Some time later, |
| 01:37:13 |
on one of the benches |
| 01:37:17 |
He smoked a pipe |
| 01:37:22 |
because pipe tobacco |
| 01:37:26 |
The tobacco was still on his fingers, |
| 01:37:32 |
and is head was bent, |
| 01:37:36 |
and pick up the tobacco box |
| 01:37:41 |
His concern was so clear |
| 01:37:44 |
that the first thing the gardener did |
| 01:37:49 |
as if he were obeying an order. |
| 01:37:54 |
Maria Loreto Semblano |
| 01:37:59 |
to revise her last book |
| 01:38:07 |
'None of this matters. ' |
| 01:38:10 |
'But no one imitates better than me' |
| 01:38:15 |
'a beautiful life. ' |
| 01:38:19 |
Subtitling |
