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Subtitles made by fidel_17 for surrealmoviez.info
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LESSON OF POLISH CINEMA
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Andrzej Wajda tells how Polish School Movement (PSM) arise
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I dedicate this film to Discussion Film Clubs,
the most faithful viewers of polish cinema
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To the polish cinemas is going movie "Ash and diamond"
based on famous novel by Jerzy Andrzejewski.
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Director is Andrzej Wajda, who also participate in script writing.
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Cameraman - Jerzy W�jcik.
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Zbigniew Cybulski and Ewa Krzyzewska from
Cracov Theatre School playing the lead characters.
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Working photos from making "the bar scene" - Maciek Che�micki meet Krystyna.
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POLISH FILM INDUSTRY
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I asked myself many times - Why polish hell is paved with good wishes?
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Pre-war start of polish cinema was full of hope
group of people who didn't what that kind of cinema
that existed before war
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didn't want (mainly) "producer's cinema" but "director's cinema
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but they didn't can do anything because producer's cinema was reflection of audience taste...
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And know, what amazing coincidence, people with various
political curriculum vitae's appears on polish cinema stage because:
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With Red Army (as polish army in polish uniforms) came Aleksander Ford and Stanislaw Wohl.
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Wanda Jakubowska went out from Auschwitz concentration camp.
Jerzy Zarzycki went out from Warsaw Uprising, he survived.
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Came Antoni Bohdziewicz, who was also connected with "Armia Krajowa"
(Polish militar movement existing during World War II).
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From west came Eugeniusz C�kalski.
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And, it's amazing, it appears that this people from pre-war period survived and, moreover,
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they still can communicate with each other and create polish cinematography.
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They make foundations for three branches of polish cinema in the same time:
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Firstly, they made film industry possible again.
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Czes�aw Mi�osz in his book described how it's looked (reanimation of film industry)
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He interested in it, because he wanted to realize movie "Robinson warszawski".
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Citation from Mi�osz: "We completed first draft on scenario with Jerzy Andrzejewski...
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and went to "Polish Film" to Lodz (city name. heart of polish cinema industry)...
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In these times this institution was a little bit similar to drunken squat
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because it was interested in stealing any possible goods (equipment, cars, houses)...
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Directors in uniforms of polish and soviet army give
an example of "practical forethought" (ironic)...
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that is characteristic for soviet's experience." (end of citation)
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Indeed, it could look like this,
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but duefact that our older friends like to "accumulating goods" (stealing)
polish cinematography can born.
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For example - equipment stolen from German's UFA movie company
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was that we had used to making our first movies.
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Today marshal visited laboratory of military film studio.
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He was especially interested in frames from movie about
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polish participation in the Battle of Berlin,
which is prepared at this moment.
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Our operator must climb on the roofs of old city
to find documentalict Jerzy Bossak.
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Director Ludwik Perski, co-creator of movie about Warsaw
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and operator Olgierd Smaucewicz.
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People from START OF (cinema after war) imagined post war cinema that will satisfy them.
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Firstly, it was to be cinema of directors,
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who made them own movies with own taste of it.
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It was to be start of artistic cinema,
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as the name 'START OF' tells.
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Moreover, these people wanted to realize 'collective cinema' model.
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In general, after war people (in them naivety) talks a lot
about 'collectivity' and 'collective economy' as a gift of socialism.
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To 1948 all have heads full of big delusions about it...
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So, idea to organize 'collective cinema' was very attractive at this time.
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But, you think, what I mean when I say 'collective cinema'?
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'Collective cinema' is model in which movies are made by 'movie teams'.
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We have in it experienced directors who
take care about shooting and leading rest of group.
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We have scriptwriters/writers who take care about literary foundations of projects.
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And, finally, we have somebody who takes care about production.
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Over time, to teams join young filmmakers,
who gains experience in allongsie of oldest friends.
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They gaining experience in practice
(help to direct movies, helping scriptwriters etc.)
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And suddenly, as you see, in this polish hell,
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which is always paved with good wishes
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by the will of These people arised polish cinema
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Title, director, year
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[Prayers in Hebrew]
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As soon as first movies of that period were made,
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it made a hit and interested Europe and rest of the world.
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(I think about "Ostatni etap" by Wanda Jakubowska and "Ulica graniczna")
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But in early 50's it turns out that (in eyes of Communist Party)
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"every polish movies suffer for narrow horrizons"
(when quote - communists critics)
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"Ostatni etap" by W. Jakubowska"didn't realize program of 'movie team"...
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Despite the fact that in real it was very close to it (Wajda's opinion).
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"Ulica graniczna" by Ford was being accused of
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"wander along the blind tracks of universal humanism and commend pain and martyrdom"...
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In Antoni Bohdziewicz's movie "Za wami p�jd� inni", as critic said,
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"we have in center young male protagonist of undefined class"...
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so in soviet optics it's worthless story.
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The same about "Robinson warszawski"...
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So, we can say, that Communist Party WANT polish cinema,
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but certainly not in the 'Directors Cinema' form.
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I think that from very beginning,
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as soon as polish cinema was spreading it wings and
coming close to Europe and rest of the world
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and we watched european cinema and europeans watched our movies
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Party was afraid of losing control upon it (cinema).
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Party was afraid that when polish cinema made a hit on western market,
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it will get out of communists hands and sail away in it's own direction.
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In which way?
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In direction of western world!
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I refer to the correspondence between
Czes�aw Mi�osz and Jerzy Andrzejewski:
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Mi�osz: "Interwar Poland, represented by the government in exile
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and AK (Armia Krajowa) suffered a defeat.
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Instead, with help of Red Army, the communists won
(with own plan of rebuild country)
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Emigration and 'Polish Underground' believs that the outbreak of World War III is close,
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so colaboration with new, communist, government is useless.
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Who didn't believe in WWIII must accept postwar division of Europe as a permanent state
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and tried to adjust to this circumstances.
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Neither I nor my friends didn't believe in WWIII..."
(end of quote)
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I didn't believe in WWIII too and (during the WWII),
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I remember that I made my life in hands of the gonverment in exile,
because I swore an oath to AK.
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In time when I got second chance and survived WWII
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I didn't want to give my life in the same hands.
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It will be unreasonable.
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That's very important...
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And later?
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Later, after war, was enthusiasm of young people,
who stood on the ruins and want to start restoration.
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First postwar years not give the impression of upcoming hard sovietization...
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To 1948, as i said, we have big dellusions and big hopes on the future...
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Wladyslaw Kolbert cleverly get around to filming
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a new movie heroine from 'Sk�d idzie burza'.
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Director Wanda Jakubowska and operator Stanis�aw Wohl
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We are waiting for the sun!
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Everything is done. Army joins the attack!
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Movie is directed by Andrzej Ford, operator is Jerzy Lipman.
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We, and all moviegoers, are curios about how german actress
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will handle with specific polish atmosphere of Marek H�asko's works.
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Below My�lenice peaks operator Sergiusz Sprudin starts night shoots.
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Director Andrzej Munk can't complain about high comfort...
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...but scenery - beautiful!
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So we have cinema industry...
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But, on the other hand, Antoni Bohdziewicz, Stanis�aw Wohl...
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and, after short moment, Jerzy Toeplitz opened Polish Film School in ��d�.
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They opened film school in the moment, when we have 2-4 premieres in the year!
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And we still had have enough pre-war directors
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who can without any problem handle with this 2-4 movies.
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School of dreams
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In this place every person at least feels like Rene Clair or Eisenstein.
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Everyone need to listen lectures by rector - Jerzy Toeplitz.
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Jerzy Bossak talks about directing and souls
of students wanders somewhere around Hollywood.
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At the operator faculty real cameras at last.
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Stanis�aw Wohl says: "Good operator always earns his 1000 thaler"
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Editing of film is philosophy and poetry, says Antoni Bohdziewicz.
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School controlled our etudes.
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Or maybe more suitable word will be 'censored'.
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Did it more severely than outside censors.
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But School did it with deep conviction that is better...
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that teachers and professors did it with
participation of students inside the School...
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than somebody from outside (Communist Party) came to school to do that.
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I think that they had right about it.
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They had it, because we had early 50's.
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The most sullen time for polsih art, time of hard stalinism.
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Andrzej Munk, who is one year older than me,
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prepared his student etude in those days.
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He noticed some very interesting phenomenon for those society.
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Noticed that after war a lot of us came out
from woods (partisans), concentation camps...
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Acording to that fact, many of us were dying from tuberculosis.
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Tuberculosis, in those days, was incurable.
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So our friends were dying, were disapearing...
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Munk wanted to do the movie about that.
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To leading roles he chose Joanna Kulmowa,
who just finished Actors School in ��d�,
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and me, because i was at the time very pale and slim.
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I was great consumptive, so to speak.
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We started auditions and Andrzej was full of enthusiasm.
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He was talking that it will be great movie.
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Unfortunately, our work was very short, because School said 'NO' to the project.
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They said that movie about tuberculosis will be too pessimistic.
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So, as you see, School didn't encourage us to do 'our cinema'.
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When I looking back at these times, times of my years in ��d� School...
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I think that only one, important thing that I took from it...
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are lessons about avanguarde in the cinema.
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That was select movies prepared by Georges Sadoul for French Film School.
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Jerzy Toeplizt took it from Paris and bring to ��d�.
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I remember that it contained 'Ballet mecanique'...
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L'Age d'or by Bunuel, Rene Clair's movies...
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Briefly speaking, all pleiad of avanguarde cinema.
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I remember that it contained fragments of german expressionism cinema too.
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These were only fragments...
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but on the basis of them we was able to orient...
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in these explosion of avanguarde ideas in cinema from 20's.
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What that meant to me?
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That meant that this way of cinema reached it top
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and we, young directors, must search cinema in which we talking about.
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Search our cinema not in form of it, but mainly in story.
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And acording to that we talked about world, which was our world...
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world of occupation, poverty and dullness...
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film movement that was very important tu us...
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was italian neorealism.
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German occupation, war - this was our subjects.
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And, in those times, took place very important meeting.
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People often forget about that, but it's very impornant.
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Polish School Movement was on high level, beacause...
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arised as friut of meeting between literature and movie.
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Scenarios were literary works of writers
that took responsibility for them works.
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Scripts were not only classic, simple movie scripts, it was Literature.
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It was stories about war by Borowski and Na�kowska.
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It was stories by Andrzejewski, Brandys or Rudnicki.
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Whole literature was at our disposal.
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Our only problem was about what communists will alows us to do.
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In addition, power of this literature lied in fact, that...
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it was written paralllelly to events, about which it's tells.
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POLISH FILM SCHOOL MOVEMENT (PFSM)
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PFSM has began with three movies.
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Firstly, Jerzy Kawalerowicz's "Celuloza", realised in 1953.
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How far we have to America?
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30 kilometers.
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[Fabric of cellulose in Wroc�aw - on singboard]
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Maybe is not here?
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It's surely here.
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Praised be Jesus Christ, daddy!
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For ever and ever, Amen.
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For which kermess are you come? (with irony)
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We came to celluloise (with mistake) or, as you say, 'To America'...
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After first, we have two more.
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"Godziny nadziei" directed by Jan Rybkowski and based on script by Jerzy Pomianowski.
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It turned out to be very all-embracing movie,
which talked about hours of liberation of 45'.
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Talked about it on the background of masses movin across the screen.
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And, finally, my movie - "Pokolenie", realised in 1954 too.
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We all debuted in this movie.
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I as director, Kazimierz Kutz as assistant director,
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Andrzej Markowski as composer
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and Bohdan Czeszko as scriptwriter.
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I think that these three movies,
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refer to tradition of italian neorealism.
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That was start to new actors,
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new way of staging, new way of shooting outdoor scenes
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(wide landscapes, crowds od people).
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And, I think... In this moment polsih postwar cinema starts.
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We don't have any problems with pre-war polish cinema...
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Flows, flows the time.
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Gently, gently sleeps heart in us.
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After it suddenly somebody will come,
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and it's the end of sleep.
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You know he is the one.
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You know she is the one.
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And lips are obedient to heart...
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We didn't watch these movies,
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we didn't interest in it.
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So, how type of cinema was interesting to us?
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Mainly, Italian Neorealism.
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00:22:54,000 --> 00:22:56,000
Why?
227
00:22:56,000 --> 00:23:01,000
Because in that way we have benn seeing us during the war.
228
00:23:01,000 --> 00:23:04,000
Hey, damn it!
229
00:23:04,000 --> 00:23:10,000
Hey, you! Boy!
230
00:23:10,000 --> 00:23:15,000
Hurry up!
231
00:23:15,000 --> 00:23:20,000
You! Damn it!
232
00:23:20,000 --> 00:23:26,000
I worked in workshop similar to that from "Pokolenie".
233
00:23:26,000 --> 00:23:32,000
I was chasing for glue, working on constructions as a locksmith.
234
00:23:32,000 --> 00:23:38,000
So, as you see, world of neorealism,
235
00:23:38,000 --> 00:23:48,000
was picture of our lives during the german occupation.
236
00:23:48,000 --> 00:23:53,000
At first, this movie was to be realised by Aleksander Ford
237
00:23:53,000 --> 00:24:00,000
for ten anniversary of PRL, but meanwhile he got better topic.
238
00:24:00,000 --> 00:24:03,000
Yes, I've got this movie after Ford...
239
00:24:03,000 --> 00:24:45,000
And I think that authority expected much more from this movie then it got.
240
00:24:45,000 --> 00:24:53,000
Despite the fact, that "Pokolenie" realised some outlines of socrealistic cinema,
241
00:24:53,000 --> 00:25:07,000
it had a lot of problems with censorship.
242
00:25:07,000 --> 00:25:15,000
During the meeting with authorities I heard...
243
00:25:15,000 --> 00:25:19,000
that youth ine the movie is not socialists idealists from ZWM
244
00:25:19,000 --> 00:25:24,000
who fight with germans during occupation...
245
00:25:24,000 --> 00:25:38,000
They said that youth from the movie is lumpenproletariat!
246
00:25:38,000 --> 00:25:42,000
They didn't expect that.
247
00:25:42,000 --> 00:25:48,000
In this moment Aleksander Ford, who was supervisor of the movie,
248
00:25:48,000 --> 00:25:53,000
tried to protect it with his authority.
249
00:25:53,000 --> 00:26:27,000
It wasn't common behavior in these days...
250
00:26:27,000 --> 00:28:00,000
Go, go, go! [germans in background]
251
00:28:00,000 --> 00:28:04,000
MOVIE TEAMS
252
00:28:04,000 --> 00:28:09,000
Until Movie Teams we had marasmus of lack of good scripts,
253
00:28:09,000 --> 00:28:15,000
decisions and possibilities to work.
254
00:28:15,000 --> 00:28:18,000
Existence of Movie Teams proved
255
00:28:18,000 --> 00:28:22,000
that only people who makes movies can manage national cinema.
256
00:28:22,000 --> 00:28:29,000
These pepole, not authorities.
257
00:28:29,000 --> 00:28:34,000
When we had 456 Movie Teams and 123 movies in the year
258
00:28:34,000 --> 00:28:41,000
managers of Teams must gave chances to young directors.
259
00:28:41,000 --> 00:28:44,000
Team must have been producing something,
260
00:28:44,000 --> 00:28:50,000
so managers giving us chances...
261
00:28:50,000 --> 00:28:55,000
Movie Tams from very begining wanted to avoid situation
262
00:28:55,000 --> 00:29:11,000
in which authorities from "outside" manage cinema.
263
00:29:11,000 --> 00:29:16,000
Ford or Jakubowska saw themselves as a communists
264
00:29:16,000 --> 00:29:20,000
and they felt that they can take responsibility
265
00:29:20,000 --> 00:29:23,000
for ideological correctness of movies that was realised in them Teams.
266
00:29:23,000 --> 00:29:34,000
Not only for them movies, but movies made by all of us.
267
00:29:34,000 --> 00:30:00,000
MOVIE TEAM "KADR" PRESENTS
268
00:30:00,000 --> 00:30:04,000
Wladek, listen...
269
00:30:04,000 --> 00:30:06,000
What with him?
270
00:30:06,000 --> 00:30:08,000
It's starts again.
271
00:30:08,000 --> 00:30:11,000
I don't have patient for this anymore.
272
00:30:11,000 --> 00:30:15,000
You are the one, who don't have patience?!
273
00:30:15,000 --> 00:30:20,000
You nit! You want be on right side!
274
00:30:20,000 --> 00:30:23,000
You boor, I will teach you scrub!
275
00:30:23,000 --> 00:30:28,000
I will teach you!
276
00:30:28,000 --> 00:30:30,000
What's goin on here?!
277
00:30:30,000 --> 00:30:39,000
We are goin on 'one"!!!
278
00:30:39,000 --> 00:30:41,000
Go!
279
00:30:41,000 --> 00:30:45,000
Wait, in this codition you can't drive locomotive.
280
00:30:45,000 --> 00:30:55,000
Somebody from reserve will come.
281
00:30:55,000 --> 00:31:00,000
At the start of activity of Jerzy Kawalerowicz's Movie Team "Kadr"
282
00:31:00,000 --> 00:31:03,000
we had three movies of our screens.
283
00:31:03,000 --> 00:31:06,000
Munk's "Man on the tracks",
284
00:31:06,000 --> 00:31:09,000
Konwicki's "The last day of summer"
285
00:31:09,000 --> 00:31:11,000
and mine "Canal".
286
00:31:11,000 --> 00:31:15,000
That was start of Kawalerowicz's "Kadr"
287
00:31:15,000 --> 00:31:27,000
and the fist voice of new generation of the polish filmmakers.
288
00:31:27,000 --> 00:32:08,000
THE LAST DAY OF SUMMER
289
00:32:08,000 --> 00:32:11,000
T.Konwicki's "The last day of summer"
290
00:32:11,000 --> 00:32:15,000
is one of the most original movie of all times.
291
00:32:15,000 --> 00:32:21,000
I think that it preceded the movies of French New Wave,
292
00:32:21,000 --> 00:32:25,000
both tematically and realizationally.
293
00:32:25,000 --> 00:32:33,000
Moreover, this movie was realised in style of New Wave.
294
00:32:33,000 --> 00:32:38,000
This is the movie which was filmed among group of friends on the beach.
295
00:32:38,000 --> 00:32:43,000
But, beside realization, the most important is topic.
296
00:32:43,000 --> 00:32:50,000
Konwicki showed us two young people infected by war.
297
00:32:50,000 --> 00:32:53,000
They are on beach...
298
00:32:53,000 --> 00:32:57,000
They are free and can do anything...
299
00:32:57,000 --> 00:33:00,000
But the time that is behind still haunting them...
300
00:33:00,000 --> 00:33:04,000
And, after all, they can't do anything.
301
00:33:04,000 --> 00:33:10,000
Jacek Fuksiewicz well described this movie and it's topic:
302
00:33:10,000 --> 00:33:16,000
"When women finally make this beautiful, trustful and full of happiness motion -
303
00:33:16,000 --> 00:33:23,000
- motion of the needs of other it's too late.
304
00:33:23,000 --> 00:33:26,000
Man who layed beside is already gone -
305
00:33:26,000 --> 00:33:31,000
- entered the water forever...
306
00:33:31,000 --> 00:33:33,000
Fate of lost generation had to be copleted in this way..."
307
00:33:33,000 --> 00:33:40,000
[end of quote]
308
00:33:40,000 --> 00:33:51,000
NIGHT TRAIN
309
00:33:51,000 --> 00:33:55,000
Come to mee.
310
00:33:55,000 --> 00:33:58,000
Hear? Come.
311
00:33:58,000 --> 00:34:01,000
Go back to your place.
312
00:34:01,000 --> 00:34:08,000
You know how madman I am.
313
00:34:08,000 --> 00:34:17,000
If you'll not come, I will jump!
314
00:34:17,000 --> 00:34:21,000
No!?
315
00:34:21,000 --> 00:34:26,000
Movie "Celluloza" amazed everyone with it's perfection.
316
00:34:26,000 --> 00:34:30,000
Kawalerowicz was the first filmmaker in Poland,
317
00:34:30,000 --> 00:34:35,000
who made movies so technically perfect.
318
00:34:35,000 --> 00:34:42,000
Yes...Jerzy Kawalerowicz's striving to perfection...
319
00:34:42,000 --> 00:34:47,000
I think, that "Night Train" is great example of that
320
00:34:47,000 --> 00:34:51,000
because in it Kawalerowicz revealed as a master of cinema.
321
00:34:51,000 --> 00:34:54,000
When we was working for "Kadr",
322
00:34:54,000 --> 00:34:57,000
we all refering to Kawalewowicz's works.
323
00:34:57,000 --> 00:34:59,000
He was our master.
324
00:34:59,000 --> 00:35:05,000
MOTHER JOAN OF THE ANGELS
325
00:35:05,000 --> 00:35:09,000
PSM was highly differential.
326
00:35:09,000 --> 00:35:12,000
Munk's movies was ironically mean,
327
00:35:12,000 --> 00:35:17,000
exposing the myth of Heroic Poland.
328
00:35:17,000 --> 00:36:42,000
BAD LUCK
329
00:36:42,000 --> 00:36:48,000
Has's movies was refering to old french films
330
00:36:48,000 --> 00:36:51,000
(Marcel Carne for example),
331
00:36:51,000 --> 00:36:56,000
full of mystery and melancholy...
332
00:36:56,000 --> 00:36:58,000
Hello, going to work?
333
00:36:58,000 --> 00:37:00,000
THE NOOSE
334
00:37:00,000 --> 00:37:04,000
No I have free day today,I must do something important.
335
00:37:04,000 --> 00:37:16,000
Don't be so serious, I drink a little too already.
336
00:37:16,000 --> 00:37:19,000
One big!
337
00:37:19,000 --> 00:37:38,000
Appetizer?
338
00:37:38,000 --> 00:37:42,000
Nice drinking man...
339
00:37:42,000 --> 00:37:48,000
You want drink with me?
340
00:37:48,000 --> 00:37:52,000
With pleasure,
341
00:37:52,000 --> 00:37:54,000
but I have no money.
342
00:37:54,000 --> 00:37:58,000
You'll be my guest.
343
00:37:58,000 --> 00:38:00,000
But we don't know each other.
344
00:38:00,000 --> 00:38:01,000
I know you
345
00:38:01,000 --> 00:38:03,000
Me?
346
00:38:03,000 --> 00:38:08,000
Yes. Your name is Kowalski.
347
00:38:08,000 --> 00:38:10,000
It's mistake.
348
00:38:10,000 --> 00:38:12,000
My name is...
349
00:38:12,000 --> 00:38:14,000
Oh, our names have no matter,
350
00:38:14,000 --> 00:38:18,000
all know us...
351
00:38:18,000 --> 00:38:24,000
We are humans, It's noble.
352
00:38:24,000 --> 00:38:32,000
Take vodka Wladziu, I'll pay!
353
00:38:32,000 --> 00:38:35,000
Hey! Manageress! 2 vodka
354
00:38:35,000 --> 00:39:12,000
but fast, because we are in hurry to go to school (joke).
355
00:39:12,000 --> 00:39:30,000
Eight.
356
00:39:30,000 --> 00:39:36,000
stanislaw Rozewicz's "Free city" refers to Rossellini's movies,
357
00:39:36,000 --> 00:39:42,000
the most to "Rome, Open City".
358
00:39:42,000 --> 00:39:49,000
This skill to combinate documental photos and
359
00:39:49,000 --> 00:39:57,000
pictures stylised to documental was very fresh for polish cinema.
360
00:39:57,000 --> 00:40:00,000
The most moving was the last scene of that film,
361
00:40:00,000 --> 00:40:04,000
in which defenders of polsih post in Gdansk
362
00:40:04,000 --> 00:40:08,000
were going between crowd of Germans.
363
00:40:08,000 --> 00:41:10,000
It looked like real german records...
364
00:41:10,000 --> 00:41:15,000
When we are watching this movie today we can see
365
00:41:15,000 --> 00:41:25,000
how well polish cinema learned from Italian Neorealism...
366
00:41:25,000 --> 00:41:28,000
And now I will shoot you nit!
367
00:41:28,000 --> 00:41:31,000
CROSS OF VALOR
368
00:41:31,000 --> 00:41:33,000
I will shoot you for your help in slaughter polish people!
369
00:41:33,000 --> 00:41:37,000
Finish him!
370
00:41:37,000 --> 00:41:39,000
My finger don't want to bend...
371
00:41:39,000 --> 00:41:41,000
I told you!
372
00:41:41,000 --> 00:41:45,000
Don't think that I am so weak.
373
00:41:45,000 --> 00:41:49,000
That's embarrassing...
374
00:41:49,000 --> 00:41:53,000
So we leave him here to dead!
375
00:41:53,000 --> 00:42:06,000
Lay!
376
00:42:06,000 --> 00:42:11,000
Lay! We don't want you.
377
00:42:11,000 --> 00:42:18,000
Gestapo! Volksdeutsche!
378
00:42:18,000 --> 00:42:20,000
We don't want you!
379
00:42:20,000 --> 00:42:22,000
Murderer!
380
00:42:22,000 --> 00:42:23,000
Volksdeutsche!
381
00:42:23,000 --> 00:42:25,000
SS-man!
382
00:42:25,000 --> 00:42:29,000
On the other hand, Kazimierz Kutz brought to polish cinema
383
00:42:29,000 --> 00:42:33,000
very specific kind of humor and folk view to reality.
384
00:42:33,000 --> 00:42:36,000
We don't have this before,
385
00:42:36,000 --> 00:42:42,000
because polish cinema was cinema of intelligence.
386
00:42:42,000 --> 00:42:51,000
And this new voice (Kutz) was significant to our later cinema.
387
00:42:51,000 --> 00:42:58,000
Among PSF movies a lot of people rightly lists "The Depot of the Dead" from Petelski.
388
00:42:58,000 --> 00:43:05,000
It's interesting, becasue script to this movie
389
00:43:05,000 --> 00:43:08,000
was written especially to it.
390
00:43:08,000 --> 00:43:11,000
Another PSM's movies are generally based on literature
391
00:43:11,000 --> 00:43:13,000
that existed before script.
392
00:43:13,000 --> 00:43:17,000
That was power of PSM, I think.
393
00:43:17,000 --> 00:43:22,000
But Marek Hlasko (scrpitwriter, writer) was excited by American cinema at this moment
394
00:43:22,000 --> 00:43:26,000
and he was searching for some oportunity to contact with film industry.
395
00:43:26,000 --> 00:43:38,000
Firstly I was the one, who had direct this ("The Depot of the Dead").
396
00:43:38,000 --> 00:43:41,000
But finally Petelski made the movie.
397
00:43:41,000 --> 00:43:46,000
And, as we can see, in final version we don't have Hlasko name in initial subtitles.
398
00:43:46,000 --> 00:43:48,000
We have this situation, because Hlasko left the country
399
00:43:48,000 --> 00:43:53,000
and said in Paris something that authorities didn't like...
400
00:43:53,000 --> 00:43:56,000
Moreover, He met with "Kultura Paryska" (polish magazine banned by communists).
401
00:43:56,000 --> 00:44:02,000
So, cut him off.
402
00:44:02,000 --> 00:44:18,000
THE DEPT OF THE DEAD
403
00:44:18,000 --> 00:44:21,000
My chain is broken,
404
00:44:21,000 --> 00:44:25,000
few minutes and chaise will collapse.
405
00:44:25,000 --> 00:44:28,000
Maybe not,
406
00:44:28,000 --> 00:44:31,000
but trailer is done, that's for sure.
407
00:44:31,000 --> 00:45:00,000
I will tray to merge endings with buckles.
408
00:45:00,000 --> 00:45:40,000
More, more!
409
00:45:40,000 --> 00:45:49,000
[He's screaming the name of the other man]
410
00:45:49,000 --> 00:45:55,000
Symbolic picture of this movies moves not only polish viewers.
411
00:45:55,000 --> 00:46:03,000
Maybe the fact that these movies talked more with pictures,
412
00:46:03,000 --> 00:46:10,000
than words enabled them success abroad.
413
00:46:10,000 --> 00:46:13,000
All group of our great operators:
414
00:46:13,000 --> 00:46:27,000
Kolberger, Lipman, Wojcik, Laskowski, Jachoda
415
00:46:27,000 --> 00:46:34,000
made this cinema "watchable" to foregin audience.
416
00:46:34,000 --> 00:46:40,000
These pictures demanded for attention...
417
00:46:40,000 --> 00:46:49,000
.. and done this with power that is not possible with dialogues.
418
00:46:49,000 --> 00:46:55,000
Also, documental movie was great support to PSM.
419
00:46:55,000 --> 00:47:03,000
Jerzy Hoffman and Edward Skorzewski came back from studies in Moscow Film Institute
420
00:47:03,000 --> 00:47:06,000
and showed us not socrealistic type of shooting reality
421
00:47:06,000 --> 00:47:12,000
(we all thinked that they do that)
422
00:47:12,000 --> 00:47:17,000
but shooting that showed us the real world as is it.
423
00:47:17,000 --> 00:47:56,000
LOOK OOT, HOOLIGANS!
424
00:47:56,000 --> 00:47:58,000
A step away from you somebody commited a murder.
425
00:47:58,000 --> 00:48:00,000
Do not cover yourself, watch!
426
00:48:00,000 --> 00:48:04,000
Astonishing student's movie
427
00:48:04,000 --> 00:48:10,000
which was shooted after 1956 (political thaw after Stalin dead)
428
00:48:10,000 --> 00:48:24,000
under the custody of Antoni Bohdziewicz was "The End of Night".
429
00:48:24,000 --> 00:48:27,000
It's important that in this young,
430
00:48:27,000 --> 00:48:34,000
full of energy movie attended people
431
00:48:34,000 --> 00:48:38,000
that later stayed with polish cinematography.
432
00:48:38,000 --> 00:48:43,000
Roman Polanski was an actor,
433
00:48:43,000 --> 00:48:47,000
Jerzy Wojcik was an operator,
434
00:48:47,000 --> 00:48:56,000
Zbyszek Cybulski played in it before role in "Ash and Diamond"
435
00:48:56,000 --> 00:48:58,000
and Ryszard Filipski,
436
00:48:58,000 --> 00:49:02,000
one of the mots tallented polish actors played there too.
437
00:49:02,000 --> 00:49:05,000
You are similiar to your father!
438
00:49:05,000 --> 00:49:15,000
You know mother? You are shrew!
439
00:49:15,000 --> 00:49:17,000
THE END OF NIGHT
440
00:49:17,000 --> 00:49:20,000
Be careful!
441
00:49:20,000 --> 00:49:23,000
What do you want sir?
442
00:49:23,000 --> 00:49:40,000
All the best.
443
00:49:40,000 --> 00:50:10,000
Look like young disregards you. Did you see that?
444
00:50:10,000 --> 00:50:14,000
Year 1956 was for us clear caesura.
445
00:50:14,000 --> 00:50:20,000
We felt suddenly the breath of freedom,
446
00:50:20,000 --> 00:50:26,000
but we don't exactly know from where it comes.
447
00:50:26,000 --> 00:50:31,000
I, for example, always stayed away from politics and I think
448
00:50:31,000 --> 00:50:34,000
that was my power.
449
00:50:34,000 --> 00:50:38,000
A lot of our friends - not only directors, but
450
00:50:38,000 --> 00:50:44,000
writers, painters, etc. engage themeselves in politics,
451
00:50:44,000 --> 00:50:50,000
because they thougt that be among authorities means be one of them.
452
00:50:50,000 --> 00:50:53,000
I thought that was big misconception.
453
00:50:53,000 --> 00:50:57,000
I always thought that the right thing is to pretend a fool
454
00:50:57,000 --> 00:51:04,000
and avoid contact with politics.
455
00:51:04,000 --> 00:51:11,000
If you been with them you must doing what thay want,
456
00:51:11,000 --> 00:51:25,000
if you were behind your life was much easier.
457
00:51:15,000 --> 00:51:34,000
CANAL
458
00:51:34,000 --> 00:51:40,000
Tigers.
459
00:51:40,000 --> 00:51:43,000
There is no other barricade.
460
00:51:43,000 --> 00:51:45,000
Come back to the canal, my friend.
461
00:51:45,000 --> 00:51:47,000
Our turn.
462
00:51:47,000 --> 00:52:04,000
Go and report to the hole/canal.
463
00:52:04,000 --> 00:52:10,000
The city that could live and we needed it alive was dead.
464
00:52:10,000 --> 00:52:20,000
City with old inhabitants would be stronger resistance point to sovietisation
465
00:52:20,000 --> 00:52:23,000
than the city that we had after war:
466
00:52:23,000 --> 00:52:26,000
ruinded and full of poor people from outside,
467
00:52:26,000 --> 00:52:39,000
who was much easier to manipulate...
468
00:52:39,000 --> 00:52:45,000
Moreover, in Warsaw Uprising, as a AK warriors,
469
00:52:45,000 --> 00:52:50,000
died polish intelligence, all was ruinded.
470
00:52:50,000 --> 00:52:55,000
"Canal" was a real experience from life of Jerzy Stefan Stawinski.
471
00:52:55,000 --> 00:53:00,000
He passed through this canals and came out somewhere in Downtown.
472
00:53:00,000 --> 00:53:38,000
According to that, "Canal" was very impressive, full of emotion.
473
00:53:38,000 --> 00:53:41,000
Year 1956 was a real turn.
474
00:53:41,000 --> 00:53:43,000
"Canal" can be showed in polish cinemas.
475
00:53:43,000 --> 00:53:46,000
Moreover, it can be showed in Cannes Film Festival!
476
00:53:46,000 --> 00:53:52,000
That was unimaginable before, that Poland sent to Cannes movie
477
00:53:52,000 --> 00:53:58,000
of young director, auteur of only two movies.
478
00:53:58,000 --> 00:54:03,000
Further, I can realised "Ash and Diamond".
479
00:54:03,000 --> 00:54:15,000
Of course, I was covered by authority of Andrzejewski and his original text,
480
00:54:15,000 --> 00:54:25,000
but we all know how far that movie diverged from novel (novel was pretty socrealistic).
481
00:54:25,000 --> 00:54:30,000
I changed communist Szczuka character with Maciek Chelmicki
482
00:54:30,000 --> 00:54:34,000
and made him the main character of the movie.
483
00:54:34,000 --> 00:55:32,000
He is not protagonist of Andrzejweski's novel.
484
00:55:32,000 --> 00:55:37,000
The story of Chelmicki could be mine story too,
485
00:55:37,000 --> 00:55:42,000
but I had luck and I survived.
486
00:55:42,000 --> 00:55:53,000
According to that fact, I know how to told story about this character.
487
00:55:53,000 --> 00:55:56,000
He was MINE character.
488
00:55:56,000 --> 00:56:03,000
Of course, Zbyszek Cybluski gave him irresponsbility and vitality.
489
00:56:03,000 --> 00:56:08,000
He made him really magnificent.
490
00:56:08,000 --> 00:56:11,000
Cybulski was waiting for this role,
491
00:56:11,000 --> 00:56:15,000
but until advice of Janusz Morgerstern I didn't have certainty,
492
00:56:15,000 --> 00:56:21,000
if he will be good in "Ash and Diamond".
493
00:56:21,000 --> 00:56:26,000
Cybulski is the most original actor with I worked
494
00:56:26,000 --> 00:56:30,000
and maybe this originality scares me
495
00:56:30,000 --> 00:56:33,000
when I was thinking about role of boy from post war period.
496
00:56:33,000 --> 00:56:36,000
Cybulski was not similiar to that boys,
497
00:56:36,000 --> 00:56:42,000
but so that he could be both movie character from 45'
498
00:56:42,000 --> 00:56:44,000
and the idol of young from 60's.
499
00:56:44,000 --> 00:56:46,000
[GOOD BYE, TILL TOMORROW]
500
00:56:46,000 --> 00:56:51,000
Morgerstern noted that fact and after "Ash and Diamond"
501
00:56:51,000 --> 00:57:00,000
made him character in "Good Bye, Till Tomorrow"
(movie about present situation in Poland).
502
00:57:00,000 --> 00:57:03,000
So, Morgersten was next individuality on polish movie scene...
503
00:57:03,000 --> 00:57:08,000
New viev of cinema, life...
504
00:57:08,000 --> 00:57:15,000
It's easy to censor words, because ideology is contained in words,
505
00:57:15,000 --> 00:57:21,000
so we know which words should be banned.
506
00:57:21,000 --> 00:57:28,000
But picture like in "Ash and Diamond" when Chelmicki died on trash...
507
00:57:28,000 --> 00:57:32,000
Could they banned it, or maybe not?
508
00:57:32,000 --> 00:57:39,000
For sure, but censor could read this picture in other way.
509
00:57:39,000 --> 00:57:48,000
For example, [youngster raised his hand against communists, so he must died.
510
00:57:48,000 --> 00:57:54,000
In new country is no place for him.
511
00:57:54,000 --> 00:57:57,000
So, where is his place?
512
00:57:57,000 --> 00:58:00,000
His place is on the trash of history.
513
00:58:00,000 --> 00:58:04,000
Scene can go to the screen!]
514
00:58:04,000 --> 00:58:09,000
On the other hand, audience comes to the movie
515
00:58:09,000 --> 00:58:20,000
and see in Chelmicki "them boy", hero from AK.
516
00:58:20,000 --> 00:58:23,000
They are angry that he died on trash,
517
00:58:23,000 --> 00:58:26,000
that communists allowed to that.
518
00:58:26,000 --> 00:58:29,000
Thank to these two points of view,
519
00:58:29,000 --> 00:58:32,000
movie could worked on screen.
520
00:58:32,000 --> 00:58:35,000
Censhorship had two levels:
521
00:58:35,000 --> 00:58:39,000
approval of script, and permission to distribution.
522
00:58:39,000 --> 00:58:48,000
For example, you wanted to made movie based on J.J.Szczepanski's "Shoes".
523
00:58:48,000 --> 00:58:54,000
So, you went to the censors and you had two ways - yes or no.
524
00:58:54,000 --> 00:58:59,000
If "yes" you wrote a pre-script and went to the censors again.
525
00:58:59,000 --> 00:59:02,000
If they said "no" - it's end.
526
00:59:02,000 --> 00:59:06,000
But if they siad "yes", we wrote complete script and went to them again.
527
00:59:06,000 --> 00:59:15,000
If they said "yes", the shoots starts.
528
00:59:15,000 --> 00:59:21,000
And in this moment we can see how important Movie Teams were,
529
00:59:21,000 --> 00:59:25,000
because when we had it we can work without
presence of censor on movie set.
530
00:59:25,000 --> 00:59:31,000
Director of Team was the one, who cared about censorship.
531
00:59:31,000 --> 00:59:38,000
I remember when Jaciewicz came back from symposium in Moscow
532
00:59:38,000 --> 00:59:41,000
and told us about topic of discusion.
533
00:59:41,000 --> 00:59:46,000
They was talking aboout conception of script as literary work.
534
00:59:46,000 --> 00:59:52,000
We didn't see problem/point in it,
535
00:59:52,000 --> 01:00:00,000
but he told that communist said that, if script is literary work
536
01:00:00,000 --> 01:00:04,000
director can't change anything in it,
537
01:00:04,000 --> 01:00:08,000
because it will be profanation.
538
01:00:08,000 --> 01:00:13,000
In this optic we don't have "censorship and politics",
539
01:00:13,000 --> 01:00:30,000
but "protection of literary work".
540
01:00:30,000 --> 01:00:35,000
We had luck and our authorities didn't
consider script as a literature
541
01:00:35,000 --> 01:00:53,000
and we didn't have to obey the orders of external 'script' editor.
542
01:00:53,000 --> 01:00:58,000
We always looks for the best solutions (not simple script-realizing)
543
01:00:58,000 --> 01:01:03,000
and that fact gave lifes to our movies.
544
01:01:03,000 --> 01:01:15,000
But after realisation our movies often disappeared...
545
01:01:15,000 --> 01:01:21,000
often in Department of Culture or Minister of Cinematography Office.
546
01:01:21,000 --> 01:01:27,000
We didn't have any infulence on what happens to the film,
547
01:01:27,000 --> 01:01:32,000
after it left from Movie Team.
548
01:01:32,000 --> 01:01:38,000
Movie wandered from one important person to another...
549
01:01:38,000 --> 01:01:45,000
and after showings the negotiations starts.
550
01:01:45,000 --> 01:01:53,000
After showings all persons sent complains to the v-ce minister of culture,
551
01:01:53,000 --> 01:01:56,000
who was also minister of cinematography,
552
01:01:56,000 --> 01:02:01,000
and director must go to his office.
553
01:02:01,000 --> 01:02:07,000
Minister talk about problematic parts and propose solutions,
554
01:02:07,000 --> 01:02:13,000
but if director don't want to cut some scenes or re-edit some parts
555
01:02:13,000 --> 01:02:19,000
he sent his to the next level...
556
01:02:19,000 --> 01:02:28,000
the Department of Culture.
557
01:02:28,000 --> 01:02:42,000
In this place was only politics - no negotiations, no friendly people...
558
01:02:42,000 --> 01:02:48,000
Moreover, if movie got permission to showings in Poland and even abroad
559
01:02:48,000 --> 01:02:52,000
it didn't mean that it can be sent to the film festival...
560
01:02:52,000 --> 01:02:58,000
It was really big obstacle, really big problem...
561
01:02:58,000 --> 01:03:02,000
They was talking like that:
562
01:03:02,000 --> 01:03:08,000
"You know, we'll sell movie, but festival - noooo...".
563
01:03:08,000 --> 01:03:11,000
I had this kind of situation with "Man of Marble".
564
01:03:11,000 --> 01:03:20,000
If we set start of PFSM in 1956 with realisation of "Canal"
565
01:03:20,000 --> 01:03:24,000
and premiere of Konwicki's "The Last Day of Summer"
566
01:03:24,000 --> 01:03:28,000
we will realise that PFSM last only for four years.
567
01:03:28,000 --> 01:03:34,000
In 1960 authorities from PZPR stated that:
568
01:03:34,000 --> 01:03:40,000
"Since 3 years polish cinematography is not socialistic.
569
01:03:40,000 --> 01:03:45,000
Movies didn't educate people in proper way
570
01:03:45,000 --> 01:03:50,000
and didn't reflect ideology of communists and country.
571
01:03:50,000 --> 01:03:54,000
These movies, with few exceptions, have weak topics,
which are not ideological
572
01:03:54,000 --> 01:04:10,000
and not instructive for young people..." [communists speach]
573
01:04:10,000 --> 01:04:15,000
So we learned that our films from 1956-58
574
01:04:15,000 --> 01:04:20,000
(time when we did our best movies)
575
01:04:20,000 --> 01:04:25,000
are weak due to lack of ideological inspiration...
576
01:04:25,000 --> 01:04:45,000
[It's still that communist statement that I shortened in previous verses]
577
01:04:45,000 --> 01:04:49,000
That was one big misunderstanding!
578
01:04:49,000 --> 01:04:53,000
It was exactly Movie Teams, who gave polish
cinematography new, fresh and exciting topics...
579
01:04:53,000 --> 01:05:06,000
Topics of Munk, Konwicki, Rozewicz, Has...
580
01:05:06,000 --> 01:05:12,000
Authorities form party stated that polish cinema
581
01:05:12,000 --> 01:05:23,000
should work against subjectivism and estheticism.
582
01:05:23,000 --> 01:05:26,000
But what was our cinema?
583
01:05:26,000 --> 01:05:30,000
Why it came in to being in the world?
584
01:05:30,000 --> 01:05:34,000
It had power and was spoted in Europe and World, because it was subjective!
585
01:05:34,000 --> 01:05:38,000
We, subjectively, was talking about OUR reality,
586
01:05:38,000 --> 01:05:41,000
about post-war Poland.
587
01:05:41,000 --> 01:05:44,000
Moreover, we didn't renounce estheticism,
588
01:05:44,000 --> 01:05:50,000
because we want to talk in language of world cinema.
589
01:05:50,000 --> 01:05:58,000
Polish cinema at that moment looked completly difrent than after war.
590
01:05:58,000 --> 01:06:04,000
The same about polish film industry...
591
01:06:04,000 --> 01:06:11,000
We had 3 film studios (Lodz, Warsaw, Wroclaw),
592
01:06:11,000 --> 01:06:18,000
3418 theatres in whole country and, most improtant,
593
01:06:18,000 --> 01:06:25,000
viewers who expext something from our movies.
594
01:06:25,000 --> 01:06:30,000
The power od PFSM layed in the fact,
595
01:06:30,000 --> 01:06:34,000
that beside all censural problems
596
01:06:34,000 --> 01:06:39,000
we always talked in behalf of ourselves.
597
01:06:39,000 --> 01:06:43,000
We think that movies signed with our last names,
598
01:06:43,000 --> 01:06:49,000
is realy OUR movies.
599
01:06:49,000 --> 01:06:52,000
Polish cinema can live, because
600
01:06:52,000 --> 01:07:00,000
we still have new directors with great talent.
601
01:07:00,000 --> 01:07:05,000
Starting with debut of Polanski with his "Knife in the Water",
602
01:07:05,000 --> 01:07:11,000
through "Hands up!" from Skolimowski - astonishing movie,
603
01:07:11,000 --> 01:07:17,000
Zanussi's "The Structure of Crystal" - brand new tone of polish cinema,
604
01:07:17,000 --> 01:07:22,000
Kieslowski's "Amateur",
605
01:07:22,000 --> 01:07:27,000
Marczewski's "Incubus",
606
01:07:27,000 --> 01:07:31,000
"Cruise" from Piwowski
607
01:07:31,000 --> 01:07:39,000
and, furthermore, through movies of
Agnieszka Holland, Ryszard Bugajski and J.J. Kolski
608
01:07:39,000 --> 01:07:48,000
we have constantly something new to say.
609
01:07:48,000 --> 01:07:51,000
And as long as we will have something to say
610
01:07:51,000 --> 01:07:57,000
and we, filmmakers, will take responsibility for what we saying
611
01:07:57,000 --> 01:08:00,000
producers will not tell us about 'taste of vievers' and forcing us
612
01:08:00,000 --> 01:08:13,000
to do the movies which 'fits to taste'.
613
01:08:13,000 --> 01:08:19,000
PFSM refered to Romantic tradition,
614
01:08:19,000 --> 01:08:26,000
because it's the strongest and the most infulential
artistic tradition for polish people.
615
01:08:26,000 --> 01:08:40,000
Tradition that make from artist the voice of conscience and nation...
616
01:08:40,000 --> 01:08:49,000
This is great and responsible function.
617
01:08:49,000 --> 01:08:51,000
ASH AND DIAMOND
618
01:08:51,000 --> 01:09:04,000
Haneczko, Bilgo, Kosobucki, Rudy, Kajtek (name/surnames/nicknames)...
619
01:09:04,000 --> 01:09:17,000
We are alive !!!
620
01:09:17,000 --> 01:09:29,000
PFSM was not alone and had a great support from polish critics.
621
01:09:29,000 --> 01:09:37,000
One of them, Aleksander Jackiewicz, proved to be a prophet.
622
01:09:37,000 --> 01:09:48,000
In 1954 he wrote about polish cinema something,
that have no confirmation in that reality.
623
01:09:48,000 --> 01:09:52,000
But, after years, I see that his words
624
01:09:52,000 --> 01:10:00,000
is the essence of that I want to told about PFSM:
625
01:10:00,000 --> 01:10:05,000
"I hope that our film will prepare to big historic,
626
01:10:05,000 --> 01:10:11,000
social and moral hearing with our reality, time and life.
627
01:10:11,000 --> 01:10:15,000
I hope that it will create a new Polish Film School
628
01:10:15,000 --> 01:10:23,000
which will be worthy tradition of our art"
629
01:10:23,000 --> 01:10:25,000
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