Sweet Rush

The bleak dark room where Krystyna Janda recalls the illness and death of her husband is the root of the sweet rush lurking in the dark, muddy bed of the river - the reality. The contrasting nectar of life given so well and poignantly through the beautiful imagery, the light, the lush nature, the music, and the wonderfully naive scenes of Bogus and Maria, you can't help loving this film above its flaws. It feels like the Krystyna Janda real life scenes were made for the actress rather than for the audience. And though heart breaking it is, these monologues are a bit too long and too raw and end up like a dull paraphrasing of a poem. Probably this is intended, but still, I would rather see that time used for more on the characters, on the story and its questions.

As a great fan of Polish cinema, I have given Wajda many chances to prove himself as a worthy director, and he has failed admirably in my opinion. "Popiol i diament" (Ashes and Diamonds) was a complete let-down, "Katyn" was offensive in its badness and even Janda's dedicated acting couldn't save the staleness of "Pan Tadeusz". I still have to watch "Czlowiek z zelaza" (Man of Iron) and "Czlowiek z marmuru" (Man of Marble), though, and reliable sources have told me they're good.

But Tatarak was certainly different. Well-paced, with a sad and introspective tone, this understated film will punch you with pathos and tragedy during the credits, even if you thought you were bored during it - you weren't, that was just your mind not knowing how to deal with the horrible truth about death.

Marta is the middle aged wife of a doctor in a small town. She has lost both her sons in the war and leads a monotonous life. Unknown to her she is also dying of lung cancer. One day she meets a lad who could be her son's age and feels physically attracted to him. But their riverside rendezvous ends in terrible tragedy.

Now the director Andrzej Wajda complicates this simple story by weaving in another dimension. The actress playing Marta was reluctant to work in the film because of her husband's chemotherapy. While the film's tragic sequence is being shot underwater, she receives the death of her husband. It is an interesting idea but fails to deliver the dramatic impact since most of the second story is related in a long monologue by the actress. Wajda actually ends up ruining the first story too by one disastrous act of cutting between film and reality.

A huge disappointment from the Polish master.

In Tatarak,great Polish cinéaste Andrzej Wajda has filmed what is important in life for all human beings.This is the reason why he has shown cinema,death,love and suffering as things which make a lot of sense for humanity.In some ways it can be said that his film is a beautiful ode to joys of love and film making.Both these creative processes are shown in great details.What is absolutely amazing to watch is the manner in which the film changes its tone.There are many moments where one feels as if a serious story is taking place. However, this is not entirely true as Andrzej Wajda ensures that his film is a good mix of all kinds of human emotions.This film has been made memorable by Krystyna Janda's excellent acting performance.She plays her role so convincingly that one is forced to believe that she is not acting but trying to be near her deceased husband.If excellent cinematography is a criteria then Tatarak would surely be acclaimed for the manner in which some of underwater scenes have been filmed. Acclaimed film critic and translator Lalit Rao saw Tatarak at 14th International Film Festival of Kerala 2009.

I am a great fan of Andrzej Wajda ever since I screened Knife in the Water for my film society members and have repeatedly viewed it. He is master in opening up his film in a slow pensive way so that when it ends, it hits you hard. Sweet Rush of course starts in room in solitude lighted by a window in a Edward Hopper fashion. The scenes swing between under lighted home and clinic of the doctor husband to the brightly, quietly, peacefully pastoral countryside where the tragedy ends the serenity of Riverside. Story swings from Death to Life and back again. Suddenly at the river, you see the sequence which once looked to be part of the story being filmed. I am not sure about the concept of film within film tried here. In real life Wajda's cinematographer Edward Klosinski was Krystyna's real husband as in the film. Krystyna Janda as Marta is superb.