Perdigão Queiroga
José Manuel Nobre Perdigão Queiroga ( born May 12, 1916 in Évora, † 8 May 1980 in Alcoentre ) was a Portuguese film director and producer.
Career
He began his film career as an assistant on such films as Aldeia da Roupa Branca ( CHIANCA de Garcia 1938), Os Fidalgos da Casa Mourisca ( Arthur Duarte 1938), O Pai Tirano ( António Lopes Ribeiro, 1941), or João Ratao ( Jorge Brum do Canto 1940), where he also played a supporting role. Next he assisted in O Pátio the Cantigas (Francisco Ribeiro 1941) and Lobos da Serra ( Jorge Brum do Canto 1942) and assumed in both the camera. Manoel de Oliveira With forerunner of neorealism from 1942, Aniki Bóbó, he assisted also.
He went in 1943 for Pathé in the U.S. to Paramount Studios, and worked after his return in 1946 for the production company Lisboa film. There he received in 1947 a generous offer for his first feature film as a director. Fado, História d' uma Cantadeira with the singer Amália Rodrigues, was a commercial success, and provided a further establishment and development of the fado. He then took over further work for other directors, such as the section of Arthur Duarte's O Grande Elias ( 1950), or the camera of the ink film A Costureirinha da Sé (Manuel Guimarães 1958). His next own directorial work Sonhar é Facil (1951, with António Silva as withdrawing from the city to the country co- founder ), the class conflict melodrama Madragoa from 1952, and the typical contemporary comedy Os Três da Vida Airada (1952 ) were last popular highlights of the Portuguese entertainment films, which now was increasingly in decline. About Holte Recipes of the established directors, lack of adequate time screenplays, and the emerging television were for reasons. At this stage it was not possible also Queiroga, despite the initial enthusiasm, giving the Portuguese film new impetus. His color film As Pupilas do Senhor reitor he turned in 1961 as first in Portugal in CinemaScope and he hired two actors from Brazil to increase its commercial opportunities in the local market, but neither commercially nor artistically was the film of the desired success.
Queiroga resorted increasingly to the production of films, and turned himself increasingly documentation, on order of the Estado Novo regime, or as promotional films for companies. In contrast to the convinced supporters of Salazar, the " directors of the regime António Lopes Ribeiro and José Leitão de Barros, Queiroga did this but only for earning a living and without special zeal, but also criticism. He turned only two feature films (O Parque das Ilusões and O Milionario, both 1963), which remained without special mention of the criticism.