Cinema of the World

IMDB

DVDTIMES: Terence Davies was born in Liverpool in 1945. Leaving out two adaptations from novels (The Neon Bible and The House of Mirth), all his films to date have been autobiographical in inspiration, a chapter of his career that closed with The Long Day Closes in 1992. Now, in his first feature film in eight years, he returns to the city of his birth: Of Time and the City is a valentine to the northwestern port where he grew up.

Of Time and the City is a personal history, with emphasis on the personal. Other people would emphasise different things. Davies gives short shrift to the Beatles – his own tastes are for 50s popular music and show tunes, and classical music, and he was never a rock'n'roller – and omits other parts of Liverpool's history, such as the 1981 Toxteth riots, entirely. As with his dramatic features, Davies slips back and forth as if by a process of memory and free-association, touching on scenes and places that were meaningful to him. The great majority of the film is comprised of archive footage, most of it in black and white, with some new material shot in HD. Davies's use of music is very apposite: Peggy Lee's “The Folks Who Live on the Hill” accompanies a sequence about the advent of the high-rise housing block. Davies's narration is beautifully read and often very funny.

The film begins with well-known lines from A.E. Housman's “A Shropshire Lad”:

That is the land of lost content
I see it shining plain
The happy highways where I went
And cannot come again.

As Davies reads these lines, it's clear to him and us that nostalgia is a dead end: it may console but the past is the past and can only be recreated in memory. Davies may not like some of the changes that have overtaken his beloved city, but he recognises that changes have to happen. But even in the middle of urban blight and delapidation, there is the possibility of renewal. As Of Time and the City shows, you can regret what a loved one has become, but you do not lose that love.

Since The House of Mirth in 2000, Terence Davies has been unable to make a feature film until now, something of which the British film industry should be ashamed. The highest-profile casualty of that period was an adaptation of Lewis Grassic Gibbon's 1932 Scottish classic novel Sunset Song. I'm glad to see him back, though for all its delights, Of Time and the City seems like a pendant to his earlier work. It's enough to keep us going until he makes his next feature.

interesting review HERE





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Synopsis:

Employing a complex multi-narrative structure, Psychopathia Sexualis dramatizes case histories of turn-of-the-century sexual deviance, drawn from the pages of Richard von Krafft-Ebing's notorious medical text. Among the cases are a sexually repressed man who discovers an unhealthy appetite for blood; a homosexual man who submits himself to a doctor who promises to 'cure' his condition; and a masochist who hires a pair of corseted prostitutes to enact a most peculiar performance. In the final chapter, a woman who has spent her life suppressing her lesbian desires is hired to tutor a sexually curious young woman. These stories are bound together by the thread of an ambitious doctor who not only studies the patients, but uses them as pawns and playthings.










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Plot: A young American soldier, hit by a shell on the last day of the First World War, lies in a hospital bed, a quadruple amputee who has lost his eyes, ears, mouth and nose. He remains conscious, and able to reason, and tries to communicate to his doctors his wish that he be put on show in a carnival as a demonstration of the horrors of war.

In 1971 Roger Ebert wrote: 've never much liked anti-war films. They've never much stopped war, for one thing. For another, they attract hushed and reverential praise which speaks of their universality and the urgency of their messages. Most anti-war films come so burdened with universality and urgency that the ads for them read like calls to sunrise services.

Dalton Trumbo's "Johnny Got His Gun" smelled like that kind of anti-war film. It came out of the Cannes Film Festival with three awards and a slightly pious aroma, as if it had been made for joyless Student Peace Union types of thirty-five years ago. But it isn't like that at all. Trumbo has taken the most difficult sort of material -- the story of a soldier who lost his arms, his legs, and most of his face in a World War I shell burst -- and handled it, strange to say, in a way that's not so much anti-war as pro-life. Perhaps that's why I admire it.


Instead of belaboring ironic points about the "war to end war," Trumbo remains stubbornly on the human level. He lets his ideology grow out of his characters, instead of imposing it from above. In this sense, his film resembles Joseph Losey's "King and Country," which also turned its back on the war in order to consider one ordinary, unremarkable soldier.

Trumbo's soldier is Joe Bonham (Timothy Bottoms), who comes from an American background that is clearly modeled on Trumbo's own. The boy works in a bakery, supports his mother and sisters after his father's death, is in love with an open-faced and sweet Irish girl, and enlists in the army because "it's the sort of thing a fellow ought to do, when his country is in trouble." Months later, he's sent on a patrol into no-man's land to bury a corpse that was offending a colonel's nose. A shell lands near him, and he wakes up in a hospital.

The army is convinced he has no conscious mind. They decide to keep him alive simply to learn from him. But he can think, and gradually the enormity of his injuries is revealed to him. He is literally the prisoner of his mind, for years, until he finds a way of communicating with a sympathetic nurse (Diane Varsi).

Trumbo uses flashbacks and fantasies to make Joe alive for us, while he exists in a living death. The most charming flashback is the first, when Joe and his girl kiss in her living room and are interrupted by her father. He's an old Wobbly who sends them both into the bedroom, and there is a love scene of such tenderness and beauty that its echoes resound through the entire film. Other scenes develop Joe's relationship with his father (Jason Robards) and with Jesus Christ (Donald Sutherland), whom he consults in fantasies. Christ really doesn't have much to suggest; he has no answers, in Joe's fantasies, because there are no answers.

The movie ends with no political solutions and without, in fact, even a political position. It simply states a case. Here was a patriotic young man who went off and was grievously wounded for no great reason, and whose conscious mind remains a horrible indictment of the system that sent all the young men away to kill each other. The soldier's own answer to his situation seems like the only possible one. He wants them to put him in a sideshow, where, as a freak, he can cause people a moment's thought about war. If they won't do that, he wants them to kill him. The army won't do either, of course.








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IMDB

Synopsis: The final work of legendary director Stanley Kubrick, who died within a week of completing the edit, stars Tom Cruise and Nicole Kidman, at the time Hollywood's most bankable celebrity couple, and was shot on a open-ended schedule (finally totaling over 400 days), with closed sets in London standing in for New York City. Cruise and Kidman play William and Alice Harford, a physician and a gallery manager who are wealthy, successful, and travel in a sophisticated social circle; however, a certain amount of decadence crosses their paths on occasion, and a visit to a formal-dress party leads them into sexual temptation when William is drafted into helping a beautiful girl who has overdosed on drugs while Alice is charmed by a man bent on seduction. While neither William and Alice act on their adulterous impulses, once the issue has been brought into the open, it begins a dangerous season of erotic gamesmanship for the couple, with William in particular openly confronting his desire for new sexual experiences. What didn't make the final cut of Eyes Wide Shut may have been as fascinating as what finally appeared on screen: Harvey Keitel was replaced almost immediately by Sydney Pollack, while Jennifer Jason Leigh was replaced by Marie Richardson after she had shot all her scenes and left town. -Mark Deming (AMG)

Review: Stanley Kubrick's first film in more than a decade, Eyes Wide Shut had already attracted attention before Kubrick's death several months prior to its release sent the hype into overdrive. As the closely guarded production dragged on for a year and a half, rumors swirled over cast departures and what Kubrick was doing with Hollywood's premiere young married couple. Kubrick's death several days after screening a "final cut" spurred speculation over whether Eyes Wide Shut was truly in the form the notoriously particular filmmaker wanted, a controversy compounded by the studio's decision to digitally alter the orgy scene for an R rating. Finally opening after numerous press tributes and the digitalia brouhaha, Eyes Wide Shut divided critics over whether it was an artistically challenging exploration of marital fidelity and boredom, or a hopelessly dated Freudian fever dream. Regardless of questions about the transposition of the 1920s Viennese milieu in Arthur Schnitzler's Traumnovelle to 1990s Manhattan, Kubrick's command of his craft was still formidable. The grainy, richly colored cinematography, Steadicam shots, and ornate production design sleekly evoked the waking dream world of Tom Cruise and Nicole Kidman's sexual searchers. Though it fell off at the box office and was shut out of year-end awards, Eyes Wide Shut's defenders suggested that it may still find a place in the Kubrick legacy. -Lucia Bozzola (AMG)








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Fear and Desire (1953) is a military action/adventure film directed by Stanley Kubrick. It is noteworthy as Kubrick’s first feature film, and it also one of Kubrick's least-seen productions.

Fear and Desire opens with a off-screen narrator (actor David Allen) who tells the audience: “There is a war in this forest. Not a war that has been fought, nor one that will be, but any war. And the enemies that struggle here do not exist unless we call them into being. For all of them, and all that happens now is outside history. Only the unchanging shapes of fear and doubt and death are from our world. These soldiers that you see keep our language and our time, but have no other country but the mind.

The story is set during a war between two unidentified countries. An airplane carrying four soldiers from one country has crashed six miles behind enemy lines. The soldiers come upon a river and build a raft, hoping they can use the waterway to reach their battalion. As they are building their raft, they approached by a young peasant girl who does not speak. The soldiers apprehend the girl and bind her to a tree with their belts. One of the soldiers goes insane and, while shouting about the William Shakespeare play The Tempest, fatally shoots the girl. A second soldier also goes insane and takes the raft for a solo voyage. The remaining two soldiers unexpectedly locate the headquarters of the enemy army and successfully infiltrate the base. They locate and kill the top ranking general and one of his aides – only to discover the dead men looked exactly like them.wikipedia...













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Based on Kubrick's pictorial for Look Magazine (January 18, 1949) entitled "Prizefighter," "Day Of The Fight" tells of a day in the life of a middleweight Irish boxer named Walter Cartier, particularly the day of his bout with black middleweight Bobby James. This 16-minute short opens with a short (about 4 minutes) study of boxing's history, narrated by veteran newscaster Douglas Edwards in a no-nonsense, noir tone of voice. After this, we follow Walter (and his twin brother Vincent) through his day as he prepares for his 10:00 P.M. bout. After eating breakfast, going to early mass and eating lunch, he starts arranging his things for the fight at 4:00 P.M. By 8:00, he is waiting in his dressing room, where he undergoes a mental transformation, turning into the fighting machine the crowd clamors for. At 10:00, he faces James, and soon, he comes out victorious in a short match which was filmed live on April 17th, 1950.

Quote:

Plot Synopsis by Andrea LeVasseur
Day of the Fight is a 15-minute short documentary about the middleweight Irish boxer Walter Cartier. While working as a photographer for Look magazine in the late '40s, Stanley Kubrick encountered Cartier through a photo shoot and article entitled "Prizefighter." Inspired, Kubrick met with him and created his first film, which was then purchased by RKO. Narrated by news reporter Douglas Edwards, the film follows the boxer and his twin brother, Vincent Cartier, during a typical day of eating, praying, and preparing to fight. The conclusion involves a fight against Bobby James, which was filmed live in 1950 at Laurel Gardens. Day of the Fight premiered in 1951 as part of RKO-Pathé's "This Is America" series.

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Quote:
Shortly after Stanley Kubrick had completed his first film for RKO - the short subject Day of the Fight (1951) - the studio offered him a follow-up project for their Screenliner series which specialized in short human-interest documentaries. The subject of their proposal was the Reverend Fred Stadmueller, a priest at Saint Joseph's Church in Mosquero, New Mexico. Known to his parishioners as the "Flying Padre" because he owned a small, single-engine plane that allowed him to visit his church members who were spread out over a four thousand mile area, Stadmueller was an inspiration to the mostly Spanish-American farmers and ranchers who made up his congregation.

Kubrick's portrait of him in Flying Padre (1951) follows a similar structure he used in Day of the Fight but encompasses two days instead of one and climaxes with some human drama: a sick baby is transported from a remote ranch via Stadmueller's airplane, the Spirit of St. Joseph, to the nearest airport where an ambulance waits to rush the child to a hospital. Along the way we are treated to glimpses of Stadmueller's daily life which include his breakfast routine at the parish house, a funeral service for a ranch hand, and his counseling of two young parishioners who have been quarreling. Like Day of the Fight, Flying Padre uses only a narrator and a music score to accompany the visual narrative.

Kubrick wanted to call his second short Sky Pilot but was overruled by the producer. Though visually accomplished - there is a virtuoso tracking shot on an airport runway in the film's final seconds - Flying Padre is a more prosaic experience than Day of the Fight which had the more dynamic and charismatic Walter Cartier as its subject. Nevertheless, the film is important in the arc of Kubrick's career because it convinced him he wanted to devote his life to making movies. "It was at this point that I formally quit my job at Look to work full time on filmmaking," Kubrick stated in an interview.

Kubrick just barely broke even on the making of Flying Padre but more problematic was the fact that RKO, now in the throes of financial difficulties, no longer had any assignments for him. Undeterred, the young director collected unemployment insurance while he immersed himself in the cinema, studying the films of Sergei Eisenstein and other important directors in the regular series at the Museum of Modern Art's screening room, reading everything he could on the subject of film theory and discussing the mechanics of filmmaking with other craftsmen.

In 1953 he received a commission from the Seafarers International Union to make an industrial film on the Atlantic and Gulf Coast District of the American Federation of Labor entitled The Seafarers. It helped pay the bills and spurred him on to start raising money and begin production on his first feature film that same year, Fear and Desire.



Two days in the life of priest Father Fred Stadtmuller whose New Mexico parish is so large he can only spread goodness and light among his flock with the aid of a mono-plane. The priestly pilot is seen dashing from one province to the next at the helm of his trusty Piper Club administering guidance (his plane, the Flying Padre) to unruly children, sermonizing at funerals and flying a sickly child and its mother to a hospital.








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Krzysztof Kieslowski's A Short Film About Love is a companion piece not only to the landmark 1988 Dekalog miniseries, from which this expanded version originally came, but also the likewise enriched and deepened A Short Film About Killing. (It's worth noting here that even if you've already seen the segment this film is based on in its original form, side-by-side with the other nine parts, the radically different and far more redemptive ending makes Love worth seeing separately.) Like all the episodes of the Dekalog, it purports to take its inspiration from one of the Ten Commandments, but in practice the segments only deal with a rigid moral law in the most obtuse and poetic way. Love dealt with the sixth commandment (against fornication), but the story of Tomek, a late-teen voyeur obsessed with Magda, a voluptuous and sexually mature woman living in an apartment across the courtyard from him, is far less brusque than its textual antecedent would indicate (though Kieslowski's viewpoint certainly stresses a strain of auteurist omniscience and acumen). In fact, as Love progresses and Magda comes to realize the depth of emotion Tomek feels for her, it becomes increasingly clear that the film owes far less to the Bible than it does to Rear Window, not only for its portrait of social isolation and the resulting Peeping Tom syndrome, but also for its fascinated bemusement at the exaggerated barriers people insist on putting up between themselves and the objects they desire. (The crucial difference between the two filmmakers' portraits of attempted one-way social contact is that while cracked boundaries manifest themselves in violent rupture in Hitchcock's world, Kieslowski's culminates in a simultaneously ecstatic and ruinous sexual release.) Given that some theologians interpret the commandment "thou shall not commit adultery" against the idea that women were not contemporarily treated as romantic equals but instead as property, A Short Film About Love's exquisite sense of auto-erotic compartmentalization takes on a greater resonance, as Tomek's deification of Magda flips the Biblical sex roles around. Tomek may be playing puppetmaster with telephone pranks and fake money order notices, but it is Magda who, through the awesome power of her worldly vagina, owns Tomek's sex drive. In practical modern terms, however, the commandment seems to be a repudiation of hollow sex (represented by Magda's booty calls) and an order to always strive for spiritually fulfilling relationships based on mutuality.

Kieslowski's deceptively simple film (with unfussy cinematography by Witold Adamek and a straightforward yet stirring piano-dominated score by Zbigniew Preisner) might have been inspired by the most straightjacket-like of God's interactions with humankind, but it speaks with the tranquility of a parable.
slantmagazine.com






An obscured thief breaks into a school gymnasium at night to steal a portable telescope from the science lab. On the following morning, the thief, Tomek (Olaf Lubaszenko) sets up the telescope on his desk, facing the window of his room, and across the courtyard into an adjacent apartment. Later in the day, an attractive, hurried woman named Magda (Grazyna Szapolowska) stops by the post office in order to claim a money order after receiving a notification in her mailbox, only to be informed by the attentive young postal clerk, Tomek, that there is nothing being held at the station on her behalf. Back home, Tomek sets his alarm clock to 8:00 pm, the approximate time of Magda's return home. Tomek would prepare his meals and dine in the privacy of his room, away from the curious gaze of his godmother (Stefania Iwinska), and spend hours observing Magda as she goes through the routine of her household tasks, often placing anonymous, silent telephone calls to hear the sound of her voice. However, his cursorily voyeuristic behavior towards Magda seems incongruously devoid of sexual connotation, as Tomek discreetly looks away from the all-too-frequent occasions when she brings home a lover, or attempts to sabotage her liaisons by dispatching interruptive repair service calls to her apartment. Painfully self-conscious and unable to express his affection for the uninhibited Magda, Tomek persists in his pathetic and reprehensible surveillance until one day when his overplayed false notification ruse results in an acrimonious altercation with the unwitting, skeptical postmaster.

An expanded, feature-length re-working of Decalogue VI: Thou Shalt Not Commit Adultery from Krzysztof Kieslowski's magnum opus television project, Decalogue, A Short Film About Love is a sublime and provocative exploration on the nature of desire, connection, and intimacy.

Interplaying colors of red and white, Kieslowski uses conventional visual symbols to convey the ideals of purity and love: the fragmented shot of a surgically bandaged hand; Tomek's reckless game of chance (which he performs over a piece of red cloth used to cover the telescope) that cuts to Magda as she traces figures over the spilled milk on her kitchen table; the painted glass block wall near the entrance of Magda's apartment that visually frames Tomek during his deliveries; the image of blood against a ceramic sink. Moreover, Kieslowski's allusive use of thematic colors in his subsequent films, Three Colors: White and Three Colors: Red, to represent equality (White) and fraternity (Red), is similarly manifested in the film as Tomek reaches a figurative equality with Magda after the transformative, humiliating encounter, and Magda (whose birth name, uncoincidentally, is Maria Magdalena) finds redemption from her wanton past through her connection with Tomek. In the haunting final sequence that markedly diverges from the resigned and disaffected conclusion of Decalogue VI, Magda is able to look through a metaphoric window into her own calloused, world-weary soul, and is provided with a glimpse of humanity that still remains intact.
Strictly Film School





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IMDB

(Noel Megahey, DVD Times)

A Short Film About Killing started out as the fifth episode of Dekalog (Decalogue/The Ten Commandments), a series of ten short films co-written and directed by Krzysztof Kieslowski for Polish television in 1988. Dekalog 5: Thou Shalt Not Kill when expanded to a feature length film as A Short Film About Killing, loses none of its power and remains one of the most important and intensely powerful episodes from a cycle of films that dealt with many complex issues affecting our daily lives.

Right down to its simple, concise title, A Short Film About Killing clearly sums up its intentions. A young man, Jacek (Miroslaw Baka) brutally murders a taxi driver (Jan Tesarz) apparently at random for no comprehensible reason. A young, novice lawyer, Poitr (Krzysztof Globisz) is assigned to his case, but despite his best efforts his client is sentenced to the death penalty causing him concern at his own abilities as a lawyer and the nature of the legal system. The director's background in documentary film-making provides a sound basis for the intellectual vigor and honesty in his examination and presentation of the subject, covering all aspects of the subject from every relevant angle with dispassionate objectivity.

In this film particularly, as much as in any of the director's other films, Kieslowski demonstrates a perfectly assured and measured control over every single element of his craft. Nothing is left to chance or to accident - the director knows precisely the effect each scene will have on the viewer and uses it to maximum effect. The concrete drabness of the Warsaw apartment block, the coldness of winter, the dull palette of colour, the dark filters on the camera shots, the gloomy score by Zbigniew Preisner - all contribute to dreadful, portentous and hugely oppressive atmosphere of the film. Even the length of each particular scene is carefully weighed and balanced for precise effect. It is said that the murder scene is the longest killing on film, but whether this is true or not, the effect is obvious, calculated and effective. The director spares us nothing, drawing out the full horrible senselessness of the act, showing enough to horrify but so much as to be salacious. When it comes to the execution scene, also shown in its full and frank brutality, the act of killing by an individual is perfectly balanced against the killing by the state. Divested of any glamour or meaning, neither killing makes any sense.

The measure of Kieslowski's genius is that he manages to make this all look so easy. He manages to clearly and concisely put across a complex and emotive subject within the short 81 minute time span of the film, skillfully using only the elements necessary and discarding anything superfluous. There is no place here for preaching or moralising. The director examines the subject from an ethical viewpoint, the moralisation comes from the individual viewer. Even when it comes to the courtroom scene, Kieslowski has the chance to grandstand and deliver from the mouth of the defence lawyer a powerful and moving speech against capital punishment, but the director shows tremendous restraint. "Your speech was, I think, the best case against capital punishment I have heard in many years", the judge tells Poitr, the defence lawyer, but the actual speech is never heard in the film. It is enough for the director, with the skills and ability he has, to show without a trace of condescension or preaching, the stark, grim brutality of murder, whether by an individual or the state and leave those eternal and universal questions - what drives someone to kill and is it ever right to kill - to be answered by others.

The film is not just a treatise on death, killing and capital punishment - the film is even more complex than that and operates, over its short length, on many other levels. In the film Kieslowski also explores themes of randomness, chance and how the actions of others and the small events of fate can direct our lives. These themes, already apparent in earlier work like Blind Chance and the Dekalog series, would also be developed further in The Three Colours Trilogy, particularly Three Colours Red. But perhaps the greatest legacy of the film lies in it being a catalyst to effecting genuine social change. The film's grim and powerful message was instrumental in influencing public opinion and may have contributed in part to the abolition of the death penalty in Poland. There are not many films as important or socially relevant as that.

















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The ghost of a young lawyer, Antek, observes the realm of the living in the Poland of 1982, during the country's period of martial law. Thanks to the help of his widow, Ulla (Grazyna Szapolowska, star of 'Dekalog 6-A Short Film About Love'), one of Antek's former clients -a worker accused of being an opposition activist- will be now defended by one of Antek's colleagues -an older, experienced lawyer. But Ulla herself finds life without her beloved husband increasingly hard to cope with and must make a difficult choice. A highly original blend of ghost story, political drama and meditation on the naturre of love, 'No End' was Kieslowski's first collaboration with writer Krzysztof Piesiewicz and composer Zbigniew Preisner, with whom he would continue to work with on all his subsequent films. (-DVD Backcover)





















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Calm was filmed in 1976 for Polish television, but not released until 1980 after it had been substantially edited, leaving the story somewhat less coherent due to the cut segments.

With SPOKOJ, translated either as 'Calm' or 'Peace', Kieslowski swings back to the depiction of a common man, a lowly and ordinary worker with no special talents and limited ambitions, who never-the-less becomes a middle period 'man in the middle'.

Kieslowski collaborator Jerzy Stuhr plays a man in prison (Antek Gralak, the same name as the central character under Party interrogation in ZYCIORYS 1975) for a trifling offense who never the less is chastened by the experience and vows to remake his life. It pares it down to the essentials. He's going to get a job, a roof over his head, food in his belly and a woman and start a family.


He already has a woman picked out, a farmer's daughter who gave him a drink of water (seen in flashback) when he was working on a labor project outside the prison. His term up he returns to Krakow and, studiously avoiding his prison mates, turns around and goes back to Silesia where he gets a job for a construction outfit. He is very humbly grateful to his boss for giving him the job despite his criminal record and he develops a certain affectionate dependency on him. He finds a place to live in a boarding house. The landlady takes an interest in him, taking him for some respectable clothes and sleeping with him, but is cruelly disappointed when he proposes and is accepted by the farmer's daughter. He becomes fully integrated with his workmates to the extent of getting blind drunk with them.

He marries the Farmer's daughter and manages to to set up an apartment with a TV and she gets pregnant and Antek is actually happy. All along the way there are tiny signs that things are not all that they should be on the worksite. He turns up one morning and no one is working because the materials haven't arrived yet. They seem resentful of the boss and Antek tries to mediate. The materials arrive a bit short. Later the losses mount up and the boss tries to dock his workers to make up for the extra expenses which causes open grumbling amongst the workers which leads to an all out stoppage- a strike. Antek tries to mediate again by getting the boss to rescind the docking of the pay and the boss shows him that it really won't result in anyone losing any money because its all just shifting things from one pile to the other.


The workers hold a strike meeting scheduled for the same time the boss is giving a party. Antek has to decide which one to go to and chooses the bosses 'party' which turns out to be a planning session of the boss and his criminal associates who cynically plan to fire the 'grumblers' and blame the theft of building materials on them. Antek denounces them angrily and marches out. He goes to the workers meeting where he is marked as a traitor and beaten up.

In general, Kieslowski has denied that he was making deliberate metaphors. He believed as long as he was making films with some truth in them, that he was dealing with reality in an honest way, then it was up to people to make their own metaphors. SPOKOJ can be seen as a metaphor for the specific situation in Poland at the time, where the boss is 'the party', corrupt and inefficient, and which blames the workers for all of its problems.

Then again I saw a documentary on the Homestead Steel Strike of 1892 and the meeting at the boss's house could have been taken from the meeting between Carnegie, Frick and Pinkerton. With Kieslowski events are rendered in such a way that even though they are specific to the story they represent eternal conflicts and human behavior so they are universally applicable. It's no wonder that he would go on to make his masterpiece, DEKALOG (1988/9) where the absorbing dramas were still relevant as cautionary commandments though sometimes one wondered just which commandment was being illustrated.

It's Kieslowski's strength that decades and centuries from now, when only university Phd's know the specific political references to 1956 or 1981, that the stories will still ring true. People act this way, organizations act that way, society is organized just so.

There is what seems to be the beginning of a formal mannerism noticeable in Kieslowski's narratives, the presentation of characters with no background given, which reaches it apogee in DEKALOG (1987/8). This devise causes the feeling engendered in the viewer of -"Who is that guys and what's he doing and why is he doing that." It all gets explained eventually but it causes the viewer to either drift off and leave the film or to become a participant, to theorize and reevaluate ones initial ideas as more information becomes available.

In this story we see perhaps Kieslowski's most negative interpretation of people. The protagonist has purposely circumscribed his life to the most basic elements in an effort to achieve these limited goals and therefore to be 'happy'. He is taken to task and this would echo in Kieslowski's study of a night watchman, Z PUNKTU WIDZENIA NOCNEGO PORTIERA (1978) and find final fruition in his critical third story in PRZYPADEK (1987) (BLIND CHANCE). The boss is avuncular but a total con man and crook. The workers are ill tempered and argumentative and always on knife edge, ready to think the worst and prepared to act violently as a mob even if it resolves nothing, a criticism to be fully explored in KRÓTKI DZIEN PRACY (1981).

In the end Antek lies bleeding in the mud in his good suit muttering 'Sporoj'. There is a strange kinship with Brando in ON THE WATERFRONT (1954) also about a corrupt boss and a compromised worker caught in the middle. (from IMDB )


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description:
It is 1979. Krzysztof Kieslowski runs a sort of sociological poll. Seventy-nine Poles, aged seven to 100, answer three questions: When were you born? What are you? What would you like most? They want similar values: freedom, justice, democracy. We watch people thinking honestly, “latching on to something Good”, as one of the persons in the film says. From those registered on tape, Kieslowski chooses 44 people and puts them in chronological order: from a one-year-old who can’t speak yet, to a 100-year-old woman who can’t hear the question, but repeats several times that she’d like to live longer. He shows a whole gallery of talking heads – kids, pupils from primary and secondary schools, students, a full-time activist with a youth organization, an engineer on the threshold of his professional career, an electrician, a nurse, a priest, a history teacher, a mother of two, a writer, a sociologist, a sculptor, a taxi driver, retired people, a woman who thinks that above all she is Catholic, and a chemical engineer who acknowledges questions with: "these days I drink, everything’s fine.” On the level of image nothing in particular is happening. Simple heads come one after another, under which there is information about the date of birth. Yet this gallery fascinates, for two reasons: the viewer observes how people’s dreams change with age. At the beginning a funny two-year-old boy wants to be car – a Syrenka, and at the end, an almost one-hundred-year-old woman, having recently lost her husband, doesn’t want anything more. But this is only seemingly a mere enumeration of personal wishes. People’s dreams compose an image of their reality, as they indirectly speak of what it lacks, of what irritates them, of what they don’t agree with. They say: I would like the lack of respect to disappear; I’d like people to do something for others, not just for themselves; I wish for a freedom that doesn’t favor the strongest; I wish that we could live courageously; that all good people would latch onto the Good; that people would not fear others; that everyone could freely decide upon his fate; that there were less elbows and backs, and more heart and mind; I want a real and not just a verbal introduction of two notions: democracy and tolerance; better justice; I want to live under conditions of democracy and with a feeling of safety; to live in a real world that isn’t all fiction and pretense... Krzysztof Kieslowski, with extremely modest filmic means, has created a sort of collective portrait of the Pole – conscious of his identity and the place he lives in, careful observer of a reality that is hard to accept, ardently yearning for change, and ripe for revolt. The director finished his film in 1979 but the chance to reach an audience only came with the events of August 1980. For this documentary he was awarded an Honorable Mention at the International Film Festival in Oberhausen in 1981.




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Friendship, loyalty, art and ambition collide in the life of Romek, a young Polish costumer working on his first professional production in a state-run repertory company. When his best friend Sowa is fired because he argued with a senior performer, Romek tries to defend him. In a moment of triumph, he sees his works being worn during a premier performance but then is called into the office to sign a paper denouncing his friend Sowa. He must sign, or lose his job. ~ Clarke Fountain, All Movie Guide







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a description by one of IMdB members:
When a director films, or 'takes' a shot, each is identified by having a 'slate' or 'clapperboard' with the information regarding the shot written in - what shot number it is and which take it is. The clapper is used when making a sound take, the visual information of the clapper closing synchronized with the jump on the graphic read out of the sound track. The sound and visuals are recorded on different media and this is necessary to match sound and visuals or else everything would look like a poorly synced cheapo chopsocky epic. When it comes to editing the final film the states are all cut out of the film.

What Kieslowski has done her is a little experiment of recovering the clappers and splicing them into a short film. They are all taken from his film The Scar (Blizna). As such Klaps qualifies as another workplace documentary from Kieslowski The experiment produces a strange result of presenting the characters from the photoplay as the actors they are. Its sort or magic/anti-magic. The presence of the clapper renders the actors as people in costume saying scripted things. The suspension of disbelief is suspended.









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IMDB

a description by one of IMdB members:
This is such a strange and peculiar film. I had assumed it was a documentary and as such seemed to combine two Kieslowski strains - the meeting and the personal narrative. I kept thinking, as the man who was testifying before a Party Committee which was going to decide whether or not to expel him from the Party. As he tells his story, the curriculum vitae or 'Life Story' of the title, I kept thinking this was such a perfect Kieslowski story that he couldn't have done better if it was scripted.

As it turns out ZYCIORYS was scripted. As far as I've been able to discover, the story the man tells was scripted, though based on actual experiences. How precisely or what amount of fictionalizing is involved I do not know. The committee is supposedly real, run by the factory secretary, a man of suspiciously movie star looks. Again, according to the material available, they really got into their task, giving an authentic grilling to the fictional offender.

Kieslowski succeeds in that he manages to present a pre-digested analysis of just went wrong with socialism in Poland and probably throughout the Eastern Bloc. Genuine working class activists at the shop floor level were driven out of the Party or merely retreated to the periphery by having to put up with the inside political machinations of pious opportunists who always knew the way the wind was blowing. This film comes off, once one knows the secret, as a scientific recreation, or rather in retrospect, a post mortem, of Socialism in Poland.

As masterful as the film is, it represents a dead end for Kieslowski. He next fiction film, a short feature, PERSONEL (1976), also scavenged his documentary techniques which proved inadequate for his emerging themes and deepening analysis of human nature and the shifting shape of human destiny.












http://rapidshare.com/files/54378194/Zyciorys.zip.001
http://rapidshare.com/files/54392932/Zyciorys.zip.002

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IMDB

A young man and his girlfriend are staying at a camp site near to where a group of other young men are all camped together. The busload of boys leave first but, having packed all their stuff away, the couple pass them on their motorbike – ignoring their catcalls on the way. The couple soon realize that they have dropped their tent somewhere on the road and turn back to look for it – only to find that the busload of boys has stopped and found it first. The boys make a simple proposal – the tent in exchange for the girl. --bob the moo (uk)




http://rapidshare.com/files/54493967/KoncertZyczen.zip.001
http://rapidshare.com/files/54498446/KoncertZyczen.zip.002

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http://rapidshare.com/files/102838318/Concert.of.Wishes.1967___By_Durruti57.part1.rar
http://rapidshare.com/files/102845874/Concert.of.Wishes.1967___By_Durruti57.part2.rar

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IMDB

From IMDB:

The late, great, Kryzstoff Kieslowski made documentary films for over ten years before his first movie: 'The Office', a short shot while he was still at film school, was his first. It's notable for its fly-on-the-wall style, then something radical and daring rather than the over-familiar device we know today. If you watch this as an extra on the 'No End' DVD, you can also watch an interview with a contemporary (and later collaborator) who explains how Kieslowski realized that in communist Poland, everything was political: 'The Office' consists of a few minutes of film in a social security office, but says a lot about the system as a whole (though as it happens, social security may have been one field where Poland was not so different to the capitalist world). This film made Kieslowski a legend among his peers, for while it is very brief, the appendage of words and images is striking and there are definite hints in the style of his later work (one thinks here of the scenes in the Post Office in 'A Short Film About Love', or in the cinema box office in 'A Short Film About Killing'). Worth five minutes of any Kieslowski fan's time.





http://rapidshare.com/files/54483067/Urzad.zip
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IMDB

"This is a surprising and lovely film, and thoroughly engrossing, given its brief length. Shot and framed with exquisite care, it validates a favorite past time and the value of looking at old photographs of family members to gain insight into one's self.

Amassing as many of the old photos as he could of his parents and grandparents, their relatives and offspring, Bergman takes long, lingering views of their faces, their hands, the expressions in their eyes and mouths, registering for us all, something special in the faces of siblings and relatives young and old. These are long loving looks, with no narration, just a piano playing a simple slightly abstract tune. It was quite moving to see, just through juxtaposition, what Bergman could lead us to think about how he regards his mother, father, aunts, uncles, cousins, -- anyone who was pictured, including himself as a boy.

This film recalled the movie "Best Intentions," of 1992, because the actors in that film really looked like his parents. What was striking in gazing at these photographs, was that Bergman's father had the more feminine face, with his soft features, large eyes, and receding chin; whereas his mother had the more masculine face, smaller eyes, strong jaw, intelligent but not stern. She was quite a beauty when young (her mother opposed the marriage, as in the movie) and being a parson's wife took its toll on her beauty, but instilled great character in her face, which never grew hard, as some faces can in old age.

Of particular interest was the fact that many of the faces of his relative had traits of the actresses, especially, that he favored, their expressions recalling them uncannily. One face looked very much like Liv Ullmann, and Bibi Andersson's features seem to resemble something of his mother's when she was young.

The simplicity and power of this film, its rhythm and pacing, earn Bergman a new epithet as a conductor, so musical did the entire piece seem to this viewer. Definitely recommended to all film goers who appreciate character development in cinema and abhor its absence in so many of today's films."

http://rapidshare.com/files/103846514/Karin_s_Ansikte__1986_.part1.rar
http://rapidshare.com/files/103862234/Karin_s_Ansikte__1986_.part2.rar

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http://rapidshare.com/files/155219447/AnKari.part1.rar
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IMDB

Although initially intended for the small screen, AFTER THE REHEARSAL was Swedish director Ingmar Bergman’s final film to be released theatrically. (He went on to write several scripts and direct for stage and television.) Henrik Vogler (Erland Josephson), an aging director in the process of staging a production of August Strindberg’s A DREAM PLAY, remains in the theater alone one night after a rehearsal has taken place to reflect on his life and career. He is subsequently joined by young ingenue Anna (Lena Olin), who seems to have romantic designs on him, and later by Rakel (Ingrid Thulin), a former lover of Henrik’s and possibly Anna’s mother. Although rather modest in scale--this is a film with one set and essentially three actors--the philosophical ramifications of this short (just over 70 minutes) Bergman feature on the nature of art and the artist’s creative dilemma are typically far-reaching. It is almost impossible not to conclude that the womanizing Vogler represents Bergman himself, who, like his alter ego, was romantically involved with several of his longtime leading ladies.













http://rapidshare.com/files/22680426/Efter_Repetitionen_1984.part1.rar
http://rapidshare.com/files/22680327/Efter_Repetitionen_1984.part2.rar
http://rapidshare.com/files/22680372/Efter_Repetitionen_1984.part3.rar
http://rapidshare.com/files/22680353/Efter_Repetitionen_1984.part4.rar
http://rapidshare.com/files/22680573/Efter_Repetitionen_1984.part5.rar
http://rapidshare.com/files/22680388/Efter_Repetitionen_1984.part6.rar
http://rapidshare.com/files/22680520/Efter_Repetitionen_1984.part7.rar
http://rapidshare.com/files/22680113/Efter_Repetitionen_1984.part8.rar

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