All language subtitles for 1980. Andrzej Wajda - Dyrygent (EN)

The "X" Film Unit
Presents

A film by
Andrzej Wajda

THE CONDUCTOR

Starring

Featuring

and the Symphony Orchestra
of the Polish Army Ensemble

Beethovers 5th Symphony Orchestra'
conductor St. Wislocki

Edited by

Production design

The film was suggested by conversations
with the conductor Andrzej Markowski

Screenplay

Photography

DIRECTED BY

This is the Kosciuszko Foundation
which arranged your grant.

Today I got tickets for a terrific play
performed by black actors.

They dance and sing. Super!

Daddy!

It's from mummy.

I'm not going anywhere
on my own again.

I'm so used to being led

that when I'm alone
I take myself by the hand

and tell myself what to do.
I nag like a starchy nanny,

or a despotic husband.

So that I have little energy left
for looking about me.

Look! I didn't know he was here.

You don't know Lasocki?
We must go to his concert.

Okay' but why?

He was in love with my mother once.

I've never seen him.

An average concert.
I enclose the programme.

I was... no.
That's not the right word.

He is good,
and you know what that means.

An average concert.
I enclose the programme.

Let me help you.

My little girl in the wide world!

If I write more you'll call me silly.

I mostly looked.
I was fascinated by the old boy.

No' that's not the word.

He is really good.

I'd like to play in an orchestra
conducted by him.

Just like Marta.

Play once and die!

Sorry. Finsh it later' okay?

Yes' of course.

I'm sorry to hear about the orchestra,

but your letter worries me.

I know about their faults,

but you sound so angry and depressed.

And finally you have
your own orchestra.

In Warsaw you'd have
to start again from the beginning.

You must decide.

Although I can't imagine
life anywhere else.

He moved me, that's the word.

He knew my mother,
loved her perhaps.

In his gestures,
there is something

dear and familiar.
I don't know why.

We at home change all together.

Others change
with their adopted countries,

but retain little touches of home.

When he came out onto the podium,

I could see father dropping in
for coffee at the Esplanade

and bowing to his friends.

I long to be back.

I gave myself a scolding

for being sentimental
and wasting this chance.

I'm going to Boston
to see him once more.

No thank you.

I wanted to look at you.

Look at you.

So you do want an autograph.

My husband is a conductor in Poland.

Where I was born.

Excuse me' my pen.

It's you again.

I'm glad you remember Poland.

I remember a family called Skulski.

They had a daughter like you.
The same hair.

My mother was called Skulski.

Your mother?

And her first name?

What did you say?

Anna.

Please tell her...

I'm sorry' my mother is dead.

What are you doing here?

I'm a violinist' here on a grant.

My name is Marta.

Can we meet someday?

- I'm flying home today.
- Can't you put it off?

- Impossible.
- Please' try.

Try if you can. Au revoir!

The most wonderful thing that happened

was that I met him.

I tell you he's marvellous.

His conducting is...

We only had your telegram today.

Lasocki unwell' concert cancelled.

Coming home. I love you.

- Your foolish Marta.
- See how I missed you?

Why aren't you all here?

Up you get. How can you lie
in bed when mummy's back...

I haven't seen you for 3 months.
Say hello...

Come on. Give me a hug.

No more travelling.

She doesn't want to say hello.
Come on darling.

Lister I must give you
your presents.

Put it on.

Why won't you try it on?

- Try it. Why must you upset me?
- You know I dislike it.

I'm exhausted.
Took of my boots' will you?

They're a size too small
and my new jacket is too large.

I can't manage anything without you.

Is there a war on over there?

What do you mean?

Because all you can talk
about is women.

Or Lasocki who's as good as dead.

What's the matter?
Why are you so tense?

What's going on?
You are so wound up.

I'm listening.

Come on ther relax.

You were away for 3 months.

But I'm back and you should be glad.

I am glad.

I'll go and wash.

I'm going through a bad patch.

Something's gone wrong.

I don't know what to do.

What does that look mean?

I need you.

Run off to bed. Right away.

Why didn't you kiss me earlier?

I wanted to save it up for now.

I'm so happy to be back.

Do you love me?

Do you love me?

I do.

Tempo.

It's no good. It should be
much more dynamic.

We keep talking about Lasocki...

The point is to play well
when he's here.

Once more from the E.

Let's try again.

Good morning. Please sit down.

And make a note about the forte.

Yes' of course.

Mars struggle against fate.

No... no!

We'll have to reconsider
the bonus distribution.

It's really to bad!

The works council will back me up.
I suppose I can rely on that?

We go on about Lasocki...

Never mind about him.

- We must try and play better.
- We've done worse.

This is our big chance.

He's world-famous.

That means foreign tours' festivals.
Don't you understand?

He made his debut with the 5th.
It's a work we know.

He has his pick of players.
Why should we be worse that they are?

No reason at all.

- Let's take it again.
- Why come back now?

And why should we make a fuss
about someone

- who repudiates his origins.
- What do you mean?

He went away and made his name.

We're all pleased' of course. But...
He got to the top' right?

But not to come back once'

- in 50 years!
- We're waiting.

Oh well... sorry.

It's none of your business.

Quiet please! Let's start.

A break?

For God's sake...

From the E.

No listen... like this.

Fate knocks at the door' it opens...

And the conductor?

...walks out because he's had enough.
Some parts are still not right.

It's not Beerhoven.
It must have drive' vitality.

Think of it as a match:
Men against women.

Once more' attention please.
No arguments!

- I speak Polish.
- I didn't know.

Our leader.

We've been rehearsing the 5th
symphony.

Let's start.

Part 2 no.160.

I'm not stopping because
something is wrong.

On the contrary' you're very good.

Let's try again from no.167.

Turn of that radio!

It's so long since I heard that.

I'm sorry' it brings back memories.

Back to work.

No filming. No one's allowed in.

Ladies and gentelmen! I'm happy

that we can perform
this symphony together.

Beethovers 5th.

I think here the composer

tried to do more that write

just another piece of music.
It seems simple' obvious.

The symphony is well known.
We all like it.

Why does it overwhelm us?

It is at once formidable and sublime.
We want to perform the music.

But what does the music ask for us?

My young colleague

said he could hear fate
knocking at the door.

Yes' but at whose door?

That's all. 'm truly happy
to be able to perform

this great symphony

together with you.

And now part 2 no.160.

He's a great genius' our compatriot.

First he run away'

now he needs a national identity.

I can understand him.

He's moody' they say'
finds pretexts for cancelling concerts.

His agent has a hard time.
What made him come back?

Never mind' he's here.

Can you hear him?

A grand old man absorbed in his dream.

Get out!

He radiates electricity.

It can't be acquired.

I'll take a stroll.
Look up old places.

Goodbye.

He understands it and I don't.

Why did you become a conductor?

Can't you remember?

Really' why?

I had talent' you know.

Though none gave me
a fiddle for my 5th birthday.

I often wonder whether you
really like conducting.

It gives you no pleasure.

He says that young conductors
try to drill the orchestra

- instead of loving it.
- He was a great lover' then.

He's had hundreds of orchestras.

You're ashamed to talk
to us about music.

- He showed us in a few words.
- I don't go in for fancy analyses.

You mean I'm not so good.

- My fee's not in dollars.
- When he conducts it's as if he were

questioning me'
giving me time to consider.

- What nonsense.
- That's what I fell.

When he conducts it's a dialogue.

Did you look at his face?

Any more comments on my
professional abilities?

I'm sorry.
For us it's a new experience.

Sorry I don't excite you.
Done the shopping?

Father did it.

You should spend
more time with Maria.

You know nothing about it.

Over there there're all
potential soloists.

Not to be one also takes talent.

An orchestra like that
can manage alone.

- Can I buy anything?
- Father's seeing to it.

If they need a conductor'
it's only for the company.

The better the company'
the better they play.

They don't need coaching.

Here we start from scratch.

Worrying about tone
and elementary discipline.

For heavers sake'
he can afford to butter you up.

He listens' smiles' helps us.

This concert means
a great deal to him.

Stop it!

I asked him if we played well.

We were alone and he said we did.

- Where was that?
- Why do you shout?

You're becoming too involved.

I really did talk to him.
He cares about the concert.

Because this is the orchestra
with whom he made his debut.

- It was a fiasco.
- He felt unwell.

- He lost his nerve and ran off.
- They brought him back.

You'd better ask your father.

It was 50 years ago.

Lasocki ran away.

Hid in the dressing-room'
wouldn't face anyone.

That's why he went abroad'

Pushed his way to the top'
and is said to

work wonders with his orchestras.

What crap!

There's a hundred like him'
ten in Poland!

But without the legend.

He loved my mother.

That evening she told him
about father.

Has Mr. Lasocki returned
to the hotel yet?

Do you know if he's all right?

You think so?

Fine' I'll be in touch.

He's come back to finish his concert.

For your sake!

You'd like to kill him!

Kill the legend!

I'll get some food.

- Morning' Marta.

Still locked?

We'll have to wait.

What's happening?

Where's the key?

Why haven't you shaved?

I'll go for the key.

No' I'll look.

Adam' we've found the key.

I didn't want to talk in front of Lasocki.
You know what they dreamt up?

They want to have the concert
transferred

to the new factory on the outskirts.

What about the acustics?

What's that to our gallant shock troops?

They brought in top experts -
we've no others.

The concert will be
an acoustic experiment

that'll make our name at home'

and Poland famous abroad.

The building can seat 10'000.

The concerts is to go out
on Eurovision as well.

They'll all see hat music-lovers we are.

Why are you so angry?

It may work.
The concert-hall is really too small.

No calls.

That's what is so aggravating.

How often have
I asked for new instruments' flats'

...to attract good players.

For alterations to the hall.
There is never any time or money.

It needed Lasocki's visit.

Then be glad he came.

Heavens' I'll be late.

I started having lessons as a child

with a great teacher' Prof. Jarzebski.

I was even quite promising...

but in the Warsaw Uprising
I was shot in the hand.

Here I'm a second violin.

The lower register is fine'
but the upper...

We rarely rehearse.

Practise too little.
I haven't any room.

I'm alone with a child and I've nowhere
to practise expect in the bathroom.

Speak up' you're not on TV.

The orchestra's O.K.
We do our best...

But our public...

We play to chance audiences'
old age pensioners'

- Captive school-parties.
...and you're paid in zloties!

We're asked to perform

at various celebrations'
but they don't need us.

Don't really won at us.

It's all wrong.

We play for their sake.

Audiences are what they are'
the whole world over.

It's you who educate your public'
not the other way round.

By your enthusiasm and devotion.

Don't rely on their love.
Rely on yourselves alone.

On your love of music and theirs.

Now let's get back to work.

What's wrong?

I'd like Adam to understand this.

No' Adam wouldn't understand.

Maestro' my name is Marta.

Ann was my mother.

What we'll do when you leave?

You've been gargling for 15 mins.
Long enough.

3 minutes.

You're quite unlike your mother.

I'm sorry' I'm late...

Let's be frank...
Can you rely on the orchestra?

Of course.
We're doing our best' the outcome...

...is another matter.
But I'm confident.

I know' you've done wonders.

The orchestra's not bad'
but what of it?

We must take into account all the

national and international implications.

That's what I said...

The orchestra's decent enough'
but really...

It's provincional.
We all want it to be a success.

- An important event.
- We've been working at full stretch.

The orchestra work like maniacs...

They've been at it for 5 hours now.

It's not enough.

Not enough.

We're all committed.
Here and in Warsaw.

But good intentions
don't get things done.

Me must make changes.
Set things up properly.

What have you in mind?

Some think Warsaw ought to take over.

Warsaw?

That's radical.

But not a bad thing for you.
Think it over.

Let's be frank' you're wasted here.

A man of your talent!

Well?

It's quite impossible.

It's possible...

But a little awkward.
I tell you' something must be done.

What else?
We're working like maniacs.

However hard I try' I can't turn

my first violin into
Jascha Heifetz overnight.

Now you're on the right track.

A little rearrangement'
and we'll feel better.

Gain confidence...

Yes' confidence' which is

what you lack at present.

To be brief. I'm sending you
some instrumentalists

From the Warsaw Philharmonic.

Now these are guys you can work with.

We can't do that.

It's already settled.

It's a slap in the face to our musicians.

- Don't exaggerate.
- I understand you.

You're taking it to much to heart.
Let's look at the facts.

Why a slap in the face?
Let's call it holding out a helping hand.

- It's in the general interest.
- That's what we said.

It's out of the question.

- Lasocki won't agree.
- You're not making sense.

You think he'd rather perform
with a weak orchestra?

He knows them now.

Something's happening that even
I don't understand.

You bet he won't even catch on.

Suddenly he'll hear some great music...

And put it down to his magic baton.
That's okay by us.

Hello!
Would you like to take over now?

Of course.

Here we go. -

8 bars before 141.

Please don't tie it with the quavers.
Once more from the same place.

We can do without coughing'
crying or giggling.

Quiet please.

Stop. You missed your entry.
You're still doing that after 3 years.

And you still don't know I'm Anna.

- While Mr. Lasocki...
- No arguments.

Careful' or I'll lose my temper!

We'll see who has the last laugh.

- How old are you?
- 23.

Then you've still got time.
We'll take you on your own.

Would you mind paying attention
to the baton?

That's better...

- Mr. Lasocki said...
- Quiet!

Keep your eye on my baton.

Wrong! Once more!

Wrong! - Again!

Take the score and practise at home.

Now we'll try the viola entry.

The same place. Just the violas.

You should learn to keep time
before you plan any tours.

Second violis!

What's wrong now?

I've a bad finger' chief.

I'm not well either'
but I have to carry on.

Could you stop giggling?

141... no' from the B' please.

Please pay attention
to what I say and do.

I'm sorry' we can't work
in this kind o atmosphere.

- That's your responsibility.
- Mr. Lasocki was satisfied.

I gave you your chance.

What were you before I came here?

Once more' please' form the B.

It's just no good.

- I know we're worried upset.
- Me upset?

I really don't have to bow-low to you.

- This is too bad.
- Ready? 141 please.

Once more!

You treat us like amateurs.

You said it first.

It's an affront!

You think that's an insult?

An affront.

You are amateurs'
that's the truth.

I decide when the rehearsal's over.

Simply amateurs.

A provincional orchestra.

Amateurs... provincional.

Is jealousy making you do this?

Really! Jealous of an 80 year-old man.

Not because of me'
because of the orchestra.

A gang of sycophantic amateurs.

Dangle a carrot in front of them...

And they'll follow like donkeys.

I've heard it all.

The conductor's supposed to mediate...

between the orchestra and music
with a capital M.

Between orchestra and public.

I know these legends

about being in rapport with
the orchestra.

That's a dream. Really they must
stop drinking...

and be more punctual.

So that rehearsals can start on time.

You've never been drunk before.

For God's sake what's eating you?

All right.

I won't play at this concert.

I won't because I can't.

Even if you insist...

Tomorrow you'll let me go.

I'll bring a medical certificate.

You've got your own way.

You've created...

Such an atmosphere around
the whole thing' that I can't.

I realize...

That if I try to play well'

it'll be a gesture against you.

There was one thing
I really cared about.

Marta? What happened?

Is something wrong?

Nothing's happened.
I just came to see you.

I'm sorry' you didn't expect me.

I came' because...

Marta. Please calm down.

I don't want to be calm.
I've been calm all my life.

I'll ask them to bring up
some breakfast.

Forgive me for disturbing you.

Why did you come here?

I'm glad to see you.

I hope you don't mind roughing it...

Lister I implore you'
no last minute scenes.

I know how you feel.
But it's for our own good.

Only for one concert' you know.

It'll be broadcast
to the whole world.

- Anna' please!
- You remember my name.

We're better now than they are.

It's a huge hall. Beethoven...

The orchestra doesn't agree.

It's our civic duty'
duty to the country.

- No!
- It's a great masterpiece.

Lasocki trusted you'
don't disappoint him.

Take care' please.

Everything's been done to bring
the orchestra up to scratch.

The small hall wouldn't have held
a fraction of those

who wanted to see you.

That's why we decided
to use this place.

- Do you think they'll come?
- More than we have room for.

Then we'll play for them.

Close the cinema and bring
all the chairs here.

Who are these people?
I don't know them.

- We've rough is some reinforcements.
- It's not my orchestra.

- I'm responsible for it.
- Where's Martha?

She decided not to play.

- I did my best.
- Best for you' or for them?

No need to panic.

Take your places' please.

Everything will be all right.

Sit down.
Everything's just fine' sir.

- What are you doing here?
- We're waiting for tickets.

Have you got room for me?

- Tomorrow we'll see.
- You won't see anything.

They've never played so well.

- They play and cry.
- How do you know?

Lasocki raises his arm and
they are on by themselves.

- A miracle?
- That's it.

- They don't go home.
- Don't eat or sleep.

They're eating out of his hands.

I'd be the same with a man like that.

I'm the director
of the local philharmonic.

- Can we see Mr Lasocki?
- Mr Lasocki is not here.

We're worried.
We've been trying to reach him.

He left his luggage and went out.

Maestro' please' I'll play...
Everything will be all right.

Please forgive me' you were right.

No changes.
The old orchestra.

Call an ambulance!

Faster please' a stretcher!

What was he to you?

What do you want of us?

What was he to me...

What was he to me?

I don't know.

- They're filming us.
- How did it happen?

Have you heard?

Yes.

I didn't think he'd be
the one to go first.

Will you play?

We must.

He'll be conducting.

He'll have to get down to it.

It's his big chance.

Leave him before it's too late!

Run away now!

Before he ruins your life.

He'll come to nothing'
but he'll make you suffer.

How do you know?

I was like that.

Conceited... stupid.

A coward...

And today...

I won't leave him.

Just as mother didn't leave you.

Mother stayed with you'
not Lasocki.

You were weak and that's
why she had to stay.

Our Father who art in Heaver
hallowed be thy name...

Hit me' Marta!

Go or hit me hard!

I wanted to kill him because of you.

Don't you think you overestimate
your own role?

It's stupid and in bad taste.
He was old and sick.

Perhaps he came here in order to die.

Stop behaving like an idiot.
Be sorry because he's dead.

Do you despise me?

The concert's tomorrow.

We must all play as well as we can.

And you must conduct.

That's all we can do for him.

Now we have to get some sleep.

You can't stay with me now'
can you?

No.

- Will you take the child?
- Stop it' please.

Calm down.

You hate me.

That's not the point.

What is the point' then?

It wasrt me or the orchestra.
That was just a minor irritation.

You were jealous about the music.
Because those who love it are free.

You can't. For you
music isn't an end in itself.

It's a means to...
Don't know what...

...power' positior fame. A career.

Something to raise you
above the rest.

It's not your fault'
it's your upbringing.

Those who can't love
what they do are not free'

and aren't a danger to anyone.

They depend on critics' money'
on the favours of authority.

You can be bought or sold'
and that's why music...

...doesn't mean anything to you.

You despise yourself.
But how can you admit it?

That's why you want to destroy
everything vital.

You'd like us to sell out
to the clique who bought you.

That's what's the matter with you.
So far everything was fine.

But suddenly
you met a real great man.

You lost your head and took
refuge in hatred. That's all.

Find another profession.

One where your hatred
may be useful.

Subtitles by Hilda Rusiecka
Distributor: FILM POLSKI