Biografia Krzywonos
KP22: prze-moc
Komentarze
CYTAT DNIA
Godzina słynna: piąta pięć
Naciska budzik, dźwiga się
Do kuchni drogę zna na pamięć
Prowadzą go tam nogi same
Pod kran pakuje śpiący łeb
Przez chwilę jeszcze śpi jak w łóżku
Dopóki nie posłyszy plusku
I wtedy wreszcie budzi się
Aniele Pracy - stróżu mój
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Zbożowa kawa, smalec, chleb
Salceson czasem, kiedy jest
Do teczki drugie pcha śniadanie
I teraz szybko na przystanek
W tramwaju tłok i nie ma Boga
Jest ramię w ramię, w nogę noga
Kimanie na stojąco jest
Aniele Pracy - stróżu mój
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Przez osiem godzin praca wre
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Już w domu siedzi przed ekranem
Na stole flaszka z marcepanem
Dziś cały czas w ataku nasi
Aniele Pracy - stróżu mój
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Nich nas ukoi dobry sen
Najlepsza w końcu jest to rzecz
I co się śni? Podwyżka cen
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Edward Stachura, Piosenka dla robotnika rannej zmiany
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Space of Żuławski |
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Piotr Kletowski, Piotr Marecki
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24.09.2008 |
 The book seems to need no introduction at all. Two pages further begins a complex to describe and foreword journey that leads through the space of director and writer Andrzej Żuławski. The word space has been deliberately chosen. When preparing for this rather lengthy interview, we felt helpless, overwhelmed, even devastated by the growing number of contexts, references, cultural, social and biographical universe of the Polish artist. Żuławski, his thirteen films and twenty four books are imbued with modernity, romanticism, WWII apocalypse, totalitarian experience, transgression, unfettered sexuality but also the history of Poland, PPS (Polish Socialist Party) heritage, political opposition, multigenerational narratives of the Polish intelligentsia as well as thousands of complicated movie, philosophical, political and literary associations. They all form a well thought out and written, set in particular experiences and backgrounds work pushing the European cinema onto a new course.
So instead of devoting too much time to the redundant introduction, perhaps it would be enough to flick through its content and get to reading what the author of Na srebrnym globie (The Silver Globe), Szamanka (The Shaman), Trzecia część nocy (The Third Part of The Night), Diabeł (The Devil), Opętanie (Possession), Najważniejsze to kochać (That Most Important Thing: Love), Lity bór (Thick Forest) and W oczach tygrysa (In the Tiger’s Eyes) has to say. A man, whose original, mutinous and deeply disturbing pictures have always challenged existing norms and poetics. Apparently Andrzej Żuławski is a filmmaker and writer whose judgment about people and the world, expressed by means of a camera and pen, has too often been received with resistance, shock, or unbelief (the very book confirms that, too). This is likely to be the cause of his higher acclaim abroad than in Poland, the country of his origin that has invariably been at the core of his art. It is worth noticing he is the only Polish filmmaker to have acquired education abroad and in spite of two attempts of throwing him out of the country during the communist era and favorable career prospects in France he would constantly return to make his films in Poland. The interview proves his decisions were intentional.
If the short introductory part turns out to be of use at all it is to justify this publication as the fruit of our meeting with Andrzej Żuławski, which took place between 25-29 May in his home in Stara Miłosna, near Warsaw. The meeting proceeded in a creative though sometimes stormy atmosphere. Many episodes, issues, moments from our protagonist’s life stirred up a hot dispute bringing about difficult in-ward looking questions. Yet they produce a picture of Andrzej Żuławski as an inexhaustible source of creative power representative of Polish intellectual circles of the latter half of the twentieth century, whose story reflects lives and dilemmas shared by artists, writers and filmmakers struggling with ideological but also economic totalitarianism. Our conversations were not confined to special effects, best European actresses and their bodies or the world of affluent producers, but also the Żuławski’s seeing of Poland as presented in four of his thirteen movies: Diabel (The Devil), which deals with romanticism and the occurrences of March 1968 in Poland, Trzecia część nocy (The Third Part of the Night) about Poland’s military occupation during WWII, Opętanie (Possession) about communism, Szamanka (The Shaman) about the aftermath of the 1989 transition in Poland. With the tetralogy Andrzej Żuławski enters a group of filmmakers such as Andrzej Wajda, N.B. the second important figure in this book who all suffer ’the Polish syndrome’, have been entangled in Polish issues, Polish history, Polish fate, a specific perception of the world and action. “I think Polish” – Żuławski could easily ascribe to the Wajda’s saying.
At one point Żuławski explains us how he helps actors tear off shells and crusts that each of them carry. The metaphor is a perfect introduction to most of his pictures showing a character at a critical point in their life when they are rended of the hierarchy that man is usually embroiled in: God, nation, or history. The director takes those restraints off and watches closely as if through a microscope how it affects the human being. Only few Polish artists have demonstrated the courage to think and depict in such a way. Only few have gotten rid of words like heroic, mysterious, metaphysical. Especially when dealing with Polish history.
Our objective was to create a guide through the Żuławski’s space, where everyone could find enough place for a reflection regarding the movie craftsmanship as such but also a philosophical background of cinematography, opera peculiarities, an attempt to understand human emotional patterns meandering, motion picture photographic identity and the understanding of satori in the Japanese fine arts… We have also taken out of the shadow the often neglected part of Żuławski’s literary works to which he has devoted the last eight years (after making Wierność Fidelity).
Our book is dedicated to those who consider Andrzej Żuławski’s rebellious works an important and significant phenomenon but also to all those, who treat his art with aversion and incomprehension. We hope it will be a great stimulus to rethink the place of Żuławski’s art in the contemporary film and literary field.
We are glad the book’s publication, which could not come into being without the assistance and contribution of Roman Gutek is linked to the complete review of Andrzej Żuławski’s movies within the confines of Era Nowe Horyzonty Film Festival in Wrocław. The Festival promotes a mutinous cinema posing a challenge to a contemporary audience as this kind of a cinema is not often represented in Poland. Yet this is precisely the kind of cinema Andrzej Żuławski has been a forerunner and master.
transl. Mateusz Urban
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