Sin final

...and not much of a middle, either. Beginning's pretty good, though. Is it just me or is TCM Imports, under Alicia Malone, grimly determined to show every single heavy, stolid, dull, depressing film from Mr. Kieslowski? Just one solid, grey, bleak, enervating shroud until I finally cried "wystarczajaco" right around the time Antec's lovely, grieving widow, for reasons best known to Kieslowski and herself, decides to sleep with a random English dude she picks up in a bar. If I were a cynical sort I'd say that the dour Pole had a commercial side to his foreboding personality as I'm sure the sight of Grazyna Szapolowska's luscious bod did not exactly discourage ticket sales. God knows, you need something to quicken the ol pulse as you watch this bloodless bunch, cigarettes stuck firmly in their mugs, stare into the abyss, weep, occasionally crack a bitter joke and stare some more. For awhile, I was hoping that there would be some courtroom drama since the plot seemed to involve a lawyer trying to free a political prisoner. But at the film's halfway mark nary a judge, jury or executioner were to be found. Unless, of course, you see Kieslowski as the hangman of all that is dramatically compelling. C plus.

I state for the record that I did not understand this film fully. The second plot with Solidarnost protester imprisoned and released by the court is not completely clear to me. Yet it has little to do with politics and more with human condition (ideals, expectation, compromise). Prisoner's family doesn't react happily upon his immediate release in a court room. There is awkwardness and embarrassment in that scene, as if some unforgivable compromise has been made and it tainted all of their relationship. Accident scene with a death of motorist seems random but reoccurring theme in Kieslowskij movies. Randomness of death, randomness of existence. Movie is wonderfully shot , music (as always) is haunting. I just cannot put it all together in my mind like I could with Veronique.

Although there is the obvious plot of the grieving wife, the movie is really about Poland under martial law. Probably unable to directly focus on such political topics, Kieslowski attempts to 'hide' this other side beneath a twisted Ghost subplot.

A dark movie, one that demands attentive viewing, this one will probably never be as successful as some of Kieslowski's other works, which have probably led its viewers to pick up this one.

Grazyna Szapolowska's husband dies. He was a public defender, so she tries to arrange for his last client, Artur Barcis, to have a good defendant. She arranges for Aleksander Bardini, under whom her husband had apprenticed, to take the case. Barcis is accused of having led an illegal strike, and Bardini works to have him tread the middle ground of confessing and denial.

Krzysztof Kieslowski's movie is a murky one that tells us we can never tell what is going on at the moment. Only in retrospect can we figure out what was going on, and even that may not be true. It is a gloomy movie, with a lot of motivation left unclear. Did Miss Szapolowska really love her husband? Why has Bardini, who hasn't taken a case of this sort for more than 30 years, taken this one? What was the strike actually about? That remains uncertain, even after the movie's end.

I've began to follow Kieslowski over the past days, hoping to finally encounter his color films which I've seen for years pop up among the brilliant works. I watched this as background glimpse into his formative period. Interestingly he does two things:

One is he presents a world that has come undone and carries the past. A woman, her husband has died as the film begins, life has broken down and she has to go out and face it. Everything that she encounters is an echo from the past. Two instances that involve photos exemplify it; nude photos of her that her husband had found but he's now gone before she had a chance to explain, the other shows an idyllic summer that he possibly spent with another woman (before they met?). But also an old friend who now vies for her, a night of prostituting herself because he reminds her of her husband, being hypnotized to forget him conjures his presence, and round it goes from bewilderment to epiphany.

The other thing they do here is look to frame a response to bewilderment felt by Poles who had just been through strikes and martial law. A man is awaiting trial, different narratives are offered up by lawyers. Should he be pragmatic or protest? It's one of the threads that were left undone at the time of the husband's death who was a lawyer on the case. His own advice, which I perceive to be Kieslowski's, is for everyone to remove the distortions that prevent them from seeing each other.

Viewers who are content to encounter a life of episodic confusion will be happy with what he does. I miss a more penetratingly visual way of threading these events and, already from my brief glimpses into Dekalog, I believe it's this ability to surround and submerge causality that he's going to cultivate, a way of dreaming in advance. Here, tellingly, we have the husband announcing his own death in the very first shot whereas it could have been threaded as discovery and glimpsed in a haze (he already tries this by the first episode of Dekalog).