Augusto Fraga
Augusto Fraga ( born September 18, 1910 in Lisbon, † 6 January 2000 ) was a Portuguese director, actor, screenwriter and film critic.
Life
Augusto Fraga was a journalist, and wrote in the 1930 's to 40's on the cinema in the film magazines Imagem, Animatógrafo, and especially Cinéfilo, whose director he was 1938/39. In 1935, he moved first to the active side of the film, as an assistant at the intersection of José Leitão de Barros ' film As Pupilas do Senhor reitor. He also assisted at the intersection of O Trevo de Quatro Folhas (1936 ), by CHIANCA de Garcia, with whom he later wrote the screenplay for its A Rosa do Adro (1938).
In 1940, he then turned his first film, from a propaganda Secretariat ( Secretariado Nacional da propaganda SPN) of the Estado Novo regime ordered short film as part of the 800th celebration of Portugal. After some time he was confined to his work as a journalist, he returned in 1947 to film back. He shot a series on music scenes, including with fado songs by Amália Rodrigues, which had become popular on the radio. In the same year Fraga, began to work as an actor.
He assisted the former UFA - actor Arthur Duarte 1952 A Garça ea serpente and 1956 in O Noivo the Caldas, as well as at Perdigão Queirogas Os Três da Vida Airada (1956 ), and Henrique Campos ' films Duas Causas (1952) and Rosa de Alfama ( 1953). In 1958, he then turned his first feature length film. Sangue Toureiro was the first color film in the cinema Portugal, and waited with Amália Rodrigues and the then popular bullfighter Diamantino Viseu in the lead roles, and the popular comedian Raul Solnado in a supporting role on. However, the success he never had, due to the weak script and the arisen since 1957, state television of Rádio e Televisão de Portugal. There followed a series of documentaries and feature films, including one of his biggest successes, Uma Hora de Amor (1964 ), in which the then very popular singer António Calvário starred as well as the equally popular singer Madalena Iglésias. Fraga made with this film, in the middle of the triggered by outdated concepts and the arisen TV crisis of the Portuguese film, a box office success.
He limited himself then returned to his journalistic profession, and turned only slightly. After the Carnation Revolution in 1976, he entered again into the public eye, as the author of numerous entertainment stage pieces for the revue theater Teatro Maria Vitória, which he wrote to deep through the 1980s.
Reception
Fraga was one of the, sometimes referred to by critics as a " lost generation " series of directors at which to rotate began after the success period of Portuguese entertainment films of the 1930s and 1940s, and found the following Cinema Novo of young, rebellious directors from 1962 unrelated. The work Fraga remained consistently irrelevant to the criticism, and was only partly to strong public interest.