Crimes of Diogo Alves

Plot

Based on the true story of Portugal's most notorious serial killer, this early silent film depicts the reign of terror unleashed by Diogo Alves, a Spanish fugitive who arrives in Lisbon and begins preying on both wealthy and poor citizens. Alves and his criminal gang systematically attack women working as launderers along the Lisbon Aqueduct, brutally murdering them and disposing of their bodies by throwing them over the aqueduct's high walls to simulate suicides. The film chronicles Alves's escalating violence as his gang raids homes throughout the city, spreading fear across the Portuguese capital. Eventually captured after a massive manhunt, Alves, his female accomplice, and his henchmen face trial in a dramatic courtroom sequence that culminates in their death sentences. The film concludes with the execution of the criminals, bringing an end to one of the most criminal periods in Lisbon's history.

Historical Background

This film was produced in 1911, a year of tremendous transformation in Portugal. The 1910 revolution had just overthrown the centuries-old monarchy and established the First Portuguese Republic, creating a climate of social and political upheaval. The early 1910s also marked the beginning of Portuguese cinema's first golden age, with domestic filmmakers eager to create content that would appeal to local audiences while competing with imported foreign films. The choice to adapt the story of Diogo Alves, a criminal from the 1830s-40s, reflected both the public's fascination with true crime and the new republican government's interest in stories that emphasized law, order, and justice. The film emerged during a period when cinema was transitioning from novelty to serious artistic medium, and Portuguese filmmakers were striving to establish a national cinematic identity distinct from French, Italian, and American influences.

Making Of

The production of 'Crimes of Diogo Alves' took place during a pivotal moment in Portuguese history, just as the country was transitioning from monarchy to republic. Director João Tavares, working with limited resources and primitive equipment, chose to film on location at the actual Lisbon Aqueduct where the historical murders occurred, adding authenticity to the production. The cast, led by Alfredo de Sousa as Alves, would have had to perform with exaggerated gestures typical of silent film acting to convey emotion without dialogue. The film's violent content was controversial for its time, pushing the boundaries of what was acceptable in early cinema. The production likely faced censorship challenges from the new republican government, which was particularly sensitive to depictions of crime and social disorder.

Visual Style

The cinematography of 'Crimes of Diogo Alves' would have employed the techniques and limitations typical of 1911 silent filmmaking. The camera would have been large and cumbersome, requiring static shots or very basic movement. The filmmakers likely utilized natural lighting when filming on location at the Lisbon Aqueduct, creating dramatic contrasts between light and shadow that would have enhanced the film's suspenseful atmosphere. The visual style probably included long takes to capture the full action sequences, given the difficulty of editing in that era. The film's visual storytelling would have relied heavily on composition and gesture rather than the sophisticated techniques that would develop in later years.

Innovations

While the film itself is lost, its production in 1911 represented technical achievements for early Portuguese cinema. The use of actual location shooting at the Lisbon Aqueduct was ambitious for the period, requiring filmmakers to transport heavy equipment to difficult locations. The film's narrative structure, covering a complex criminal case with multiple characters and locations, demonstrated growing sophistication in Portuguese storytelling capabilities. The production likely utilized the latest available camera and film processing technology of the era, though specific technical details are not available in surviving records.

Music

As a silent film, 'Crimes of Diogo Alves' would have featured no synchronized soundtrack. Instead, theatrical presentations would have included live musical accompaniment, typically performed by a piano player or small orchestra in the cinema. The music would have been selected to match the mood of each scene - dramatic and tense during the murder sequences, romantic during any tender moments, and triumphant during the courtroom and execution scenes. The score likely consisted of popular classical pieces and original compositions improvised by the theater musicians, following the common practice of the era.

Memorable Scenes

• The dramatic sequences showing attacks on women launderers at the Lisbon Aqueduct
• The courtroom trial scene where Diogo Alves and his gang face justice
• The execution sequence that concludes the film
• The formation of Alves's criminal gang
• The manhunt through the streets of Lisbon

What Critics Said

Contemporary critical reception of the film is difficult to ascertain due to the loss of the film and the scarcity of archival materials from early 20th century Portuguese press. However, based on the pattern of reception for similar films of the era, it likely garnered attention for its sensational subject matter and local relevance. Portuguese newspapers of the period probably covered its release as a significant cultural event, given that it was one of the few domestic productions competing with popular foreign imports. Modern film historians consider the film important primarily for its historical value as an early example of Portuguese feature filmmaking, though its artistic merits remain difficult to evaluate without access to the actual film.

What Audiences Thought

The film likely attracted significant local interest due to its basis in one of Portugal's most infamous criminal cases. Early 20th century Portuguese audiences would have been drawn to the combination of local history, sensational crime, and the novelty of seeing a familiar story told through the new medium of cinema. The fact that the production chose a real Portuguese criminal rather than foreign subjects suggests a calculated appeal to national pride and local curiosity. However, as with most films of this era, detailed audience reaction records are not available, and we can only infer that it found an audience among Lisbon residents who would have been familiar with the locations and historical background of the Diogo Alves story.

You Might Also Like