Na srebrnym globie

The film looks really intriguing so I was excited to watch it. It definitely wasn't the experience I was hoping for.

I have to admit I basically understood nothing of what was going on. The plot is already complex, and when you add in the attempt to reconstruct the missing scenes using voiceover, it becomes pretty much impossible to follow the story.

As it stands this seems to be more of a curiosity than an actual film.

This is a very nihilistic saga that mocks spiritual misconceptions by means of anthropology, myth, religion put under a microscope. It's amazing how Zulawski managed to engage me in this three hour gibberish monologue. The whole thing is very reminiscent of performance art and butoh dancing. That's not to say that the cinematography was uninspired, it was gorgeous.

Andrzej Zulawski's On the Silver Globe was a movie I was so excited to see ever since I heard of its existence. Even to track it down to watch was something I struggled with for so long. And eventually, once I did come across a way to watch it, I was more than excited to do so.

Unfortunately, I just couldn't keep up. It was a cram fest of any and every philosophical conversation the film could explore, and done so in the most noisy, nauseating and mind numbing way possible.

It had a great first act... Somewhat slow, but consistent and remarkable. Actual conflicts of body and mind. And then it dissolves into madness... the unwatchable kind. The final two acts are just all over the place; with dialogue which people call explorative and introspective, but I feel was vapid, inconsistent and meaningless, with characters that have no individuality, appearing out of thin air at will, all echoing one sentimental philosophy depriving the film of any need to keep its consistency, and with a plot that twists and complicates itself for no apparent reason than to provoke conversation that ends up going nowhere.

Although, one thing that will never cease to amaze me are the visuals; the set designs, costumes, makeup and its unconventional cinematography providing what can only be described as truly otherworldly in its presentation, setting the tone for the movie as accurately and descriptively as possible.

At the end of the day, I'm not hating on it, but simply find it shallow as opposed to what most people say about it in artistic circles. But I'm at least glad that I got to finally watch it, and will forever be content with the knowledge of this movie's existence.

This ambitious Polish science-fiction film first began production in 1975, but in 1977, with eighty percent of filming complete, the Polish government ordered production to stop and all sets, costumes and footage to be destroyed, over fears that some themes present in the film were an allegorical criticism of Poland's communist rule. The surviving reels of footage, smuggled out of Poland by the director and crew, lay dormant until the fall of communism and, although incomplete, the film was finally released in 1988. As much of the footage was lost or indeed never filmed, the narrative was incomplete and in a daring move Żuławski decided to narrate the missing scenes and include their destruction as part of the narrative, this narration being presented over footage of a busy Polish city that zips by the camera as Żuławski fills in the gaps, also providing clear dividing points between the three main acts.

The film itself deals with the cyclical nature of existence, the ethics of freedom, the power of belief and the dangers of allowing that belief to fuel ideology, all told through the anthropology of an emerging society created when three astronauts from Earth crash land on a distant planet. For the film's first act we follow the point of view Peter who records events on a video-camera, as he, Marta & Thomas attempt to survive and start a new life in the barren, alien wilderness. After Marta becomes pregnant and gives birth to Thomas' baby, the astronauts realise that the child is growing at an accelerated rate. The film jumps forwards erratically as we are presented with snippets of a society emerging in front of Peter's camera lens, as the astronaut's children grow to maturity and themselves begin to procreate. The children begin to deify their astronaut parents, who seemingly never age as generations pass. The first act ends with Marta and Thomas dead and Peter, now referred to only as 'The Old Man', alone in a society of his children who do not understand his ravings, nor why he will not die like the others and ultimately they begin to resent his presence. Eventually, Peter returns to his space-craft and sends his hours of recorded footage back to Earth.

The second act revolves around Marek, the owner of the space agency that funded the first mission, who himself heads to the planet to escape the pain of a lost love, only to find a savage, incomprehensible and divided society of people who have been awaiting his prophesied arrival. He is regarded as their messiah and through his eyes we are introduced to the advancements in the beliefs and structure of the society since we last saw them. Marek becomes embroiled in his role as deity, guiding the society under his rule and leading the charge against a race of bird- like creatures from across the sea called 'Sherns' who steal women to mate with and produce mutated half-human, half-Shern offspring. The final act takes place primarily on Earth, where another astronaut named Jack is attempting to discern what befell Marek's mission to the planet. He is caught up in an affair with Ava, the woman for whom Marek left Earth, and in a fit of drug addled depression he himself heads to the planet, only to find the people's messiah, Marek, crucified in grisly fashion. Ultimately, Żuławski is dealing with some heavy themes here, asserting that humanity has a need to continually create and destroy his gods, that without belief there cannot be understanding and that without understanding their can be no happiness.

The world Żuławski presents is stark and beautiful, the Baltic shores, Caucasus mountains and Mongolian desert providing the barren and isolated landscapes that so capture the imagination throughout the film, but also it's the wonderfully designed costumes and props and cold, grey-blue cinematography that lend these places a true alien feel. Overall 'On the Silver Globe' is as intriguing as it is impenetrable. The frenetic camera work launches us directly into the midst of the chaos on-screen, events later explained more by action than dialogue as characters descend further into erratic and emotional madness, exploring the reasons for their being and the world around them through pained and awkward ad-libbed philosophical diatribes. While the narrative is most certainly confused, partly because of the unique journey of the film's production and release, and partly because of the confounding dialogue, the over-reaching story told is one that still conveys a powerful message about the nature of belief in human society and the desire to comprehend our existence. While most certainly not a film for everyone, 'On the Silver Globe' is a tough two and a half hour experience to endure, but one that repays it's viewer's diligence with some compelling food for thought and some truly beautiful cinematic scenes.

It's difficult to describe the film The Silver Globe to the average person. Many people describe it as being similar to Jodorowsky's unfinished Dune project. The version I found had no subtitles, so I had to guess what was happening, but that didn't bother me since it was unlike any film I had seen. The movie takes place in a post apocalyptic future that has almost been destroyed by man. People decide to start over, and they build a village on the moon and choose a leader. They're are many disturbing and unforgettable images of people shouting at the brink of their sanity, bizarre bird creatures and a brutal crucifixion scene on a cross that's almost 100 ft high. There is one scene where people are in the air with poles stuck up them, the poles are almost a couple stories high. (Hard to describe but think of the impalement scene in Cannibal Holocaust 100 ft. in the air) The movie has some of the most amazing cinematography and insane camera angles. Fan's of directors like Jodorowsky, Tarkovsky and David Lynch won't be disappointed.