Watching the first ten minutes of the film, the Police's most legendary song, "Every breath you take," began to play. In the future, it fully reflects the essence of the film, mixed with the inspiration of the Hitchcock concept in the film “Rear Window”. We have a magnificent and insane on one hand, but so mundane and touching. Love that goes on the verge of pathological obsession (which Sting sang about) and the most real, pure, feelings that hide behind the barriers of inner fears, insecurity and suggestive of dreams as such.
The main character is a young voyeur who for a long time watches the neighbor from his window, simultaneously creating different situations for meeting her. The lady herself is a lonely woman who has been looking for happiness for an extremely long time, but all her attempts are in vain. Separately, I want to highlight the actress Grazhina Shapolovskaya, who perfectly played a kind of fatal woman for the main character. Perfectly conveyed character strong outside, but tired inside the heroine. In the future, seeing that the life of the observed spoils, different situations bring her inconvenience, he tells everything. It is from this moment that the climax begins, which reveals the characters, makes them play with new colors. They cease to be observers and observant, but become people with a lot of experiences. After this climax, the angle changes exactly 180 degrees, making the film even more imbued.
The film depicted an extremely interesting story related to love, how pure feeling leads to the obsession and suffering of two people who do not even know each other, how one person can ruin the life of another. A lot can be learned in working with your inner fears and the pursuit of your true happiness.
9 out of 10
Once upon a time I watched Krzysztof Keslevski’s film “Cinema lover”, the film I liked, the director remembered, then there were the famous “Three colors”. Today caught the eye of "Short film about love", 1988, this is a slightly modified one of the novels of "The Decalogue", which I watched with pleasure. It would seem that there is nothing special in the plot, but it is filmed so that the heart hurts. A young guy Tomek, a former orphanage, settles with his friend’s mother while a friend has been traveling somewhere for a long time. By inheritance from a friend, he gets the object of voyeurism - a woman in the window opposite, first he watches her through binoculars, then steals a spyglass in the school office and then the observation becomes closer. However, Tomek is not just a voyeur, he really fell in love with this woman and if at first he watched the intimate moments of her life, sometimes trying to interfere with them, then gradually he stops doing it. In the end, there will be their acquaintance, but at some point the woman will not behave quite decently, which will lead to almost a tragedy, but here and in her soul there will be a shift, something will rise from the already almost deadened depths of the soul.
Continuation of marginal analysis Like the previous film, The Short Murder Story continues to explore the inner world and inner motivations of declassified, marginal elements. In this case, the image is more vivid and therefore the aversion to it is stronger: an orphanage without a normal reaction to human emotions, stupid mechanistic work on issuing letters - all this proves the extreme degree of defectiveness of the boy. More. Developing criminal tendencies - theft, voyeurism, interference in someone else's life, persecution. Usually such characters are pathological serial maniacs, but here they ineptly try to portray him as too young and inexperienced, but no, a healthy person does not cut veins from shameful pollution. The incomprehensible weak work of the operator and the general simplicity of the script is surprising. ' Case', shot 7 years ago, three heads higher, even some nonsense for TV in terms of quality. Watch if the film is interesting. Original
You don't know? Have you ever cried?
- Once. Long time.
- When did you leave one? Why are they crying? Yeah, a lot of different reasons. When loved ones die. Or leave you. When it's so hard you can't stand it.
- What?
- Life. When it hurts.
- Is there anything I can do to help?
- Martin used to have a toothache. He turned on the iron, waited for it to turn hot. I put it on and forgot about my tooth.
“A Short Film About Love” is a long version of the sixth episode from the film Decalogue by Polish director Krzysztof Kieslowski. The foundation of the Decalogue was the Ten Commandments.
Surprisingly, the picture does not look like a censure or condemnation of the actions of the heroes.
On the contrary, Krzysztof managed to create an atmosphere of friendly involvement. Who hasn’t experienced the power of first love? Pure, sincere, ridiculous, timid, sacrificial, insane.
Each of the heroes runs. Only 19-year-old Tomek - voyeur runs to love, and lonely and vicious in his way of life Magda, escapes from emptiness and loneliness.
Their run intersects and happens, what Ivan Bunin wrote in “Dark Alleys”:
“It doesn’t matter what and how happy a person is!” Consequences? After all, they always exist: after all, cruel traces remain in the soul of everything, that is, memories that are especially cruel, painful if something happy is remembered.
We do not choose how, why or to whom we will love. What it will be and how it will end. But the moment of happiness and simultaneous pain will overtake everyone.
Tomek realized that love is not only happiness, but Magda, that it is not only pain. An adult woman could see herself through the eyes of a young man in love with her. She found her comfort and happiness, which she had previously tried to see, laying out cards and dating one-off men.
An ordinary story that does not surprise, but does not let go until the end. Open finale.
It's "A Short Film About Love." Like a recollection from the past that everyone once had. After the final credits, they sat and remembered their first love. About love, about those cases that heard about it from friends and acquaintances. And they are like the sound of the keys that sounded in the film, in the autumn were filled with heartfelt longing for those times.
10 out of 10
The journey of beings has its beginning in eternity. It is impossible to find that moment from which creatures, lost in ignorance, bound by the thirst for existence, begin to wander and wander.
- Buddha Shakyamuni.
Tomek, an abstract 19-year-old young man, engages in voyeurism. The verdict has been pronounced.
People do voyeurism every day, so don't blame me for that ultimatum. Don’t we peek at a neighbor, a colleague, a sign, a passer-by to compare ourselves and determine who is better?
We cannot attain autarky by definition.
The protagonist, Tomek, cannot be independent of Magda, in which he sees the meaning of his life.
People cannot be independent of public opinion - there will be no incentive to act.
Do you remember how you were born?
Sometimes I think so.
Do you remember your parents too?
- No, they're not.
A conversation between Tomek and Magda in a cafe hints that Tomek is not well with his family. She lives in an apartment with her friend’s mother. No man's shoulder. It is possible that in childhood he was strongly cared for by his mother - he fell in love with a woman older than him.
We are cripples who suffered mental trauma in childhood, and then complexes. This is why we love some people and hate others.
Tomek thinks it's love when it's really a need for motherly care. And Magda wanted to feel the love that she had buried for a long time, so she got into the boy.
Their fates crossed, but their feelings cannot be called love. Both Tomek and Magda had cracks in their souls that needed to be stuffed with something – love, pity and compassion.
Samsara's wheel is spinning and spinning. Apparently, the Union of Tomek and Magda could not come true. They will have to get rid of their fears, complexes and desires in order to gain freedom.
People should not traumatize each other's minds, so as not to turn someone into a pedophile, an incest lover, a partner with a wide age difference. .
The main character is actually Maria Magdalene, Magda. That already says a lot. She has amazing hair, like Baltraffio. If you look at her from the window, you will see a complete vision of ewige weibliche, eternal femininity.
A simple, talented guy, besides an orphan, falls in love with this sinful creature.
And since everyone falls in love with the depth of his nature, he suffers.
Now completely useless reflections that can hardly tell the viewer who wants to understand one thing: to watch this movie or not to watch. I don’t think it should be seen by everyone, it’s not for everyone.
This film, as the title says, is about love. I don't think the director is joking. If he wanted to say “Platonic love,” that’s probably what he’d write. However, he limited himself to one word, and believe the director. So, he is sure that the film is about LOVE, and not about anything else: voyeurism, the need to live in old age at least with someone, the peculiarities of the post office and milk delivery service, beautiful polkas, and so on.
By the way, the movie would have worked well as an advertisement for this very voyeurism, but the arrogant observer set up an observation only outside one window and, moreover, decided to get acquainted with the object of observation.
Youth is not characterized by experience, the mind of feeling, but it is inherent in sincerity. Experience, years, are inherent ... experience, curiosity of feelings, which borders on cynicism. The film gives us an opportunity to observe what can happen in such a collision.
A typical courtyard of Soviet Poland, gray, dreary, painfully familiar. Two high-rise buildings pointlessly staring at each other with whitish eye sockets of windows. Dull and blind, they are all like twins, and only one is clear and bright. There she lives - Magda, Magdalene, lost, beautiful, sinful, unsettling, accessible ... beloved, also always shamelessly and alluringly open ... Tomek never cries, he just doesn't know why. The last time it was a long time ago, when he was a kid, he lost it for the first time. And he's been alone ever since. Young Werther, a knight, is still a boy, he inherited from a friend binoculars and a window without curtains in front of a woman whose “bump often gives”.
Polish director Krzysztof Kieslowski without exaggeration can be called a skilled jeweler of the female soul. For him, she is always beauty, sometimes obscured by grief and vice, as if frozen to a cold blue, not found, not known itself. And the director helps her to warm up and rise, highlights the delicate features with a shining light, not burning red, but warm and joyful, like a sun ray on the wall. A short film about love is a story of awakening. Chamber and autumn sad, it is filmed as a change of “love prospects” – the views of the main characters on each other. The main part of the picture focuses on the life of Tomek, all this time we see Magda through his eyes. And Keslevsky seems to become fascinated by a nineteen-year-old young man who keeps an eye out for the grace of the light movements of the heroine. She is beautiful, but internally disappointed and bitter: the barely noticeable nervousness of her manners betrays a well-disguised tear.
The picture is deliberately wordless, the characters seem to be afraid to reveal their feelings, and then an all-seeing camera negotiates for them - it also peeks, and then reflects their inner world through facial expressions, gestures, views. This desire of the director to show the uniqueness of what is happening, invading the territory of the intuitive and unknown, with light touches of the brush to sketch in the dynamics of movement can be called a characteristic feature of Keslevsky’s cinematic handwriting, where the originality of the plot is revealed primarily in the manner of its execution. As well as the meaning of the events of his films is often conveyed or duplicated at the level of image-symbols. The gospel names of the main characters (Thomas, stubborn, "unbeliever") or the overturned bottle of milk brought by Magde Tomek: a white spot slowly blurs across the table, and her fragile shoulders shudder with silent tears. Or the strange man in a white suit who meets the hero in a moment of joy and leaves in an hour of despair - an angel, a blessing from above?
This boy was sent to her soul as an opportunity for change, as a hope. And she did not believe, rejected, abused, distorted. She, an elder and experienced, decided to teach him the harsh truth of life. Once, in order to quell longing, he had already tried to hurt himself. But he failed. But she did. He was the only one who didn’t want anything from her, just to be there, to love and admire her. But he couldn't save her. It seemed to him that his love was chaste and pure, above desire, above nature: this woman was everything to him - perfection, ideal, fallen, but still the most beautiful being. And he himself destroyed everything, for he realized that he was only a lustful animal, a flesh, that always and everywhere takes his own: one of the many who came to her on dark evenings, just as she expected him to see.
Love and sex are romantic ent oder weder. Eternal irreconcilable dichotomy of soul and body, spirit and matter, another binary opposition or another tragedy of a divided world. Tomek is the soul, Magda is the body. Their relationship drowned in shame and pain. In this meeting, the theme of femininity as a kind of correlate of personal identity acquires its unexpected color. Throughout the film, Magda appears as a seduction and lust, a capricious vengeful child, but not one capable of compassion and understanding. Motherhood, which gives the female nature its fullness, was as if removed from her once wounded and ever since shackled in the armor of indifference of the heart. And the more significant is the silent scene at the end of the picture, where the elderly hostess of Tomek so generously and maternally naturally manifests her feelings, trying to protect the boy from the “whore” standing nearby.
The message of the gospel parable about the grain, which can not bear fruit “if it does not die” – all the same archetype of a new birth through death – is very close to the main idea of the film by the Catholic director. The belated “you were right” sent into the void of the phone no longer meant anything to Tomek, but it turned out to be the final frontier for Magda as a long-suffering and conscious sense of guilt and admiration. Agreeing with the opinion of the performer of the leading role, Keslevsky somewhat deliberately turns his film into a kind of fairy tale, as if enveloping it with an equally desirable, as well as unrealizable illusion of hope. But then in The Decalogue - that "chronicle of human error," he still returns to his original intent, through the allegory of soul-killing rhymes the film with the sixth commandment of Moses. But here and now, the last third of the film, the viewer sees the world through the eyes of an updated Magda. And peering together with her through the transparent window opposite, maybe for a second, but you also want to believe that “he” will find the strength to rise again, forgive himself and her, quietly approach, put his affectionate hand on the shoulder that trembles with tears – he will regret, console, understand. Her angel-savior, her boy, her hope, her life.
for Nightmare163
Why do people cry? From pain, sorrow, disappointment, and sometimes from powerlessness. Everyone knows the feeling of indefatigable longing. Like a prickly wool sweater, it envelops the body, wounds it and disturbs the soul. Dreams of finding salvation in watching someone dear, dearly loved, mysteriously beautiful and... unfamiliar. The eye of the spy tube reveals one secret after another. A mature woman as in the palm of a peeping young man, he sees her dissolute life, asks mute questions, imagines himself in her apartment, and he does not even know his name. Tomek’s feelings are simple and true, his love is pure as freshly smelted glass, and all around is a gloomy sky, gray streets, typical buildings and tasteless life. Tears roll unnoticed. He and she cry in unison, and each has their own reasons. If only there was relief afterwards! But no, sadness is stronger and love is weak. It is difficult to break a bright feeling out of the overcoat of omissions, but sometimes one word, if it is said looking into the eyes, can rescue the soul from captivity. It's a tiny bit, but it's a beautiful moment of hope. It's as short as this movie. But he is honest as the three cherished words: "I love you."
Why do people cry? Maybe because they stopped believing? For the Catholic Krzysztof Kieslowski, this answer is both clear and controversial. His sad, like an autumn symphony picture neatly, exactly gradually, touches the New Testament legends, but firmly stands on the ground. The one that ordinary people walked then, and on which they walk now. Are there less tears now? Especially in an era of cynical love. The humanistic message of the director is subtly connected with the soul of a true romantic who can be fed with platonic feelings. Tomek cries not from powerlessness, but from Magda’s delusions. The young man sees her life, feels its depravity and emptiness, wants to find at least some place in it. Alas, the opportunities are small and the efforts are comical. He is only a man, an orphan boy, whose entire wealth is the spying trumpet of a friend. But at the moment of the long-awaited explanation, he appears much more mature than an adult woman. Such love is connected with sadness and anxiety. Tomek doesn't know how devastating pain and frustration can be. He does not understand this for himself, and all because love is simple in its awareness, but difficult in interpretation.
Why do people cry? What prevented Magda from finding a person, connecting with him and feeling the difference between sex and real feeling? Keslevsky does not dare to condemn a woman, he respects the right of everyone to wander to the touch and make mistakes. The moment of proximity of two singles is electrified by an alarming foreboding. Carnal attraction converges in a deadly duel with spiritual attachment. It is impossible to combine them in a harmonious duet, and again disappointment, again pain, broken heart and tears. Many tears, more deceived and dissolved in a night of hope, as if it were possible to make things right, to return to the path of virtue, and to be grateful to the feeling, not destroyed by it. Being a well-known moralist, Keslevsky disposes of fate in the way that people who feel the warmth of the hands of a truly native person should do. It is so easy to inflict a strong offense, to destroy the castle of trembling feelings with your prudishness and feverishly strive to build it again. The bitter realization of the mistake, the hot spoke burns through the mind, and it seems that everything is over.
So why are people crying? In the Decalogue, Keslevsky left no chance for forgiveness, and it was impossible to restore what was destroyed. But in the picture, whose name is formed by the word “love”, everything should have turned out differently. Tomek and Magda’s tears are more truthful than all words, and they are caused by an amazing combination of frustration and calm. Awareness of the mistake squeezes the heart, and finally the words spoken warm the soul. Whatever happened next, they had an evening together. After him, each became different, there was a mental exchange of roles, but one thing remained unchanged - pure, virgin love. In the strongest, most God-pleasing form, compensating for sins, and therefore so sadly beautiful. The elegy of the subtle feeling that colored the gray landscape of the Polish city sounds in minor chords. All simple life, a modest life and a cheerful future quietly become an appendage of something intangible, but unlocking the heart with an elegant key. I want to say a lot to a loved one, take his hand and forget about everything. Real words sound soft, like the chime of drops, but everyone wants to enjoy, swim along the waves of quiet tenderness and not open their eyes from frozen tears. Someday you will want to cry and it will be wonderful. All you have to do is free the heart.
I watched ' A Short Love Movie' just the day after ' A Short Murder Movie' and I thought I would see something similar. To my great surprise, only the handwriting of the director of both films turned out to be similar, and very interesting and peculiar. And unlike my first encounter with Keslevsky, there really is something to think about.
First of all, the director managed to convey to the viewer that, paradoxically, we are all human. With their strengths and weaknesses. There are no good heroes in this movie, no evil heroes. There are people in this movie with all the qualities of people. The easiest way to look at a person, learn a couple of facts about him, hang a label and go on your way, doing the same actions with each person you meet. It is more difficult to try to understand a similar creature and expand the dynamic range between color ' black' and color ' white'. And thank you Keslevsky for the fact that in this picture he managed to do it one hundred percent. Therefore, the viewer will treat the heroes of the film humanly. A little compassion, a little judgment, a little irony. Someone will probably remember himself at nineteen, someone will smile sadly at his thirties. But the main thing is that in every window of the house opposite lives someone with whom we have something more in common than belonging to the species homo sapiens.
That's the idea. The plot does not want to touch at all, because it is worth it to be seen without unnecessary spoilers.
7 out of 10
A short film, or rather a torn plot from the lives of two ordinary people. The heroine, who is interesting and attractive in herself, lives the ordinary life of a woman, meets men, rejoices, cries and lives with the hope of love. And the hero, a 19-year-old guy, still inexperienced, unmarried, romantic and timid, he looks after this woman, seeing in her the image of the ideal woman, falls in love with her.
But is it love? He thinks that he is, because he is sure of her and could look at her for hours, such a silent, quiet love of the boy for a woman, without any vulgarities. She only sees it as naivety. The film ends in a silent and indefinite minute, where everyone can guess the future outcome of events.
The story as if a bright spot fills the gray everyday life of the heroes. From the film comes romantic melancholy, naturalness and beauty of life behind glass.
A short film about love the creation of Krzysztof Keslowski. "Decalogue" - perhaps the best that made a great Polish director. Two films, about love and about murder, occupy exactly the central place and are probably the milestone of the Decalogue. I highly recommend watching this amazing series. The end of the eighties and the beginning of the nineties is a rapid development of a qualitatively new type of series. The series seem to be inflated by the timing of films. "Decalogue" and "Twin Peaks" This is proof.
Keslevsky describes a lot and in detail in his book about the creation of the film, about its understanding, about interesting facts. Better than him, no one will describe the film, will not tell about the inherent meanings and will not help all film lovers to understand these dark, convulsive events. I recommend everyone to read the book Keslevsky, the blessing it is in Russian.
Pan Krzysztof A philosophical, subtle, skeptical person, a lot of thoughts, a lot of thoughts, too much truth, it is in abundance, it tears from every frame. Be it attitude to people, to society, to the state, to the machine of delivering people from life.
Directness and harmony of the plot, everydayness and slowness - all this magically creates magic. When love dies, it will rise again like Lazarus, I am not sure that Tomec acted as a relayer of the will of God, but every person is capable of such an “accessible” miracle. A person who has immersed his feelings deep inside is dead, limited, unable to feel the world in full.
Keslevsky does an interesting trick, creating a context in which we observe a young man desperately in love with a beautiful lady, exhausted, sincere in his feelings, but not finding a response from someone he so desires. After some tragic events, the situation changes dramatically. In Magda, feelings are awakened, she comes to life and rushes to love in all ways, but they actually change places. Although in the expanded version, for cinemas, the ending is more than fabulous, when compared with the serial.
Guilt is ancient and social, hurting both heroes. They get sick, they treat each other. They become the closest people who have no secrets, no secrets, no boundaries.
Keslevsky's passion to describe the world as he sees it, the world as it is. Krzysztof Pesiewicz Helped his friend and colleague in this. This is an amazing tandem between the director and the screenwriter, just amazing, extremely fruitful and worthy of all praise.
Love is a miracle that can heal a person, revive his feelings and at the same time can take away the most precious thing – life. This fine line is very clearly traced, it is the center of attention.
Decalogue - 10 commandments Moses. Krzysztof Keslevsky is based on biblical motives. The director is very far from the main text, but at the same time the parable and religiosity are felt. Keslevsky a well-read and intelligent director, philosopher and workaholic. His films are complex and layered. One person in white can be interpreted differently, it is an angel, or an apostle, or a simple passer-by.
Keslevsky creates a complex world, hated, concrete, identical high-rise buildings become the beginning of all ten films from the cycle, one way or another everything begins in these squalid and monotonous boxes.
Magnificent, complex, subtle, scary, amazing and incredibly convincing film. A short, compact statement Keslevsky on one of the most important topics. Again, I recommend watching the entire cycle of the great "Decalogue".
Like the movie, I got a pretty short opinion.
The cat, the insidious gaverznik, the Kyberotomaniac, to the queen of the Kaffirs steals Cyprian
The only thing that was able to show and prove in this film by the unconditionally talented Polish director Krzysztof Kieslewski is that the story of any degree of sophistication and perversion can be arranged with the masterful hand of the director and put so that tender ladies have tears, and no less tender young men frantically rubbed their hands and shook. However, let us state the facts dryly and impartially, without anger, so to speak, and bias.
For a year in socialist Poland he shamelessly engages in the most arrogant voyeurism, watching a nice and free neighbor in sexual life, violating at the same time a dozen written and unwritten laws of the state of the victorious popular democracy. In addition, he also makes a break-in and robbery of the school to profit from a spyglass, because the former faithful theatrical lorgnette ceased to arrange, sweating from hot excited breath at the most important moments, and probably occupied a working hand.
Using his official position (postal employee), he intercepts the correspondence of his victim, sends her false postal notices, breathes hotly into the phone, disrupts the girl’s meetings with the cavaliers he does not like, calling emergency utilities at her address. And, as he himself admits, masturbates, at least initially, watching the love pleasures of the neighbor. It is only by chance that he has to open his passion of the map, telling her everything, but what we see is that after a forced confession, using his trustworthy and pity-inducing appearance, he manages to lure her to a cafe and drink it for explanations in order to finally be at her house on the coveted tacht, which he has so many times contemplated through the eyepiece of the telescope. And only chance and childhood surprise do not allow the vile plans to come true.
What's next - a session of cruel emotional blackmail, clearly calculated so as to hit the sore spot pannoka, exactly at the time of depression and a break between the next cavaliers. Whether the maniac-manipulator will succeed in implementing his insidious plans or not, the viewer will see. And the director can only applaud and express regret that he did not make films about Hannibal Lector. In such experienced hands, they would sting the tears of impressionable housewives and become a sentimental and justifiable anthology of the love of the misunderstood heart for human fillets.
7 out of 10
It is surprising how easily Mr. Keslevsky managed to convey genuine feelings in his tapes, rely on the social environment, but not to waste on unnecessary dialogues and unnecessary plot twists and turns. The emotionally devastating "Short Murder Movie" was followed by a touching story, albeit no less gloomy in its outer doom. Heroes of Keslevsky, as a rule, the most ordinary people living in an environment of atrophied feelings, replaced by an exaggerated idea of universal morality. The sleeping area, the houses are equally uncomfortable and sulfur, the working days of the boy Tomek are held at the post office, and the evening in someone else's apartment - his own orphan has not yet matured. And in this monotonous whirlwind, among learning foreign languages and eating sandwiches, a special place is occupied by an unusual form of leisure, and rather even obsessive mania - peeping through the spyglass behind the artist Magda living in the house opposite. Throughout the year, as on a schedule, with the ringing of an alarm clock, rush to the window, follow her every step, meet every new man on her doorstep, ring and keep silent on the phone, trying to squeeze out at least a compressed apology.
Tangible differences in age and social status are not the main problem raised in the film. Much more important is the underground fear of a young guy who fell in love with a distant and unfamiliar image in the window. Fear instilled in society, in which any, even a slight deviation from the norm is condemned, sometimes even spit. And after all, the film is really about love, but not the fiery, but the timid, doomed love of an introvert. Later, the tape will enter the Decalogue cycle, personifying adultery - the director again appeals to Christian morality, urging not to throw stones at those who are not without sin, but to imbue them with compassion. Tomek and Magda are sinners in their own way, but can they be condemned when the thick roots of the dead tree of socialism are still curling around? And again, Fatum interferes in the fate of the heroes, crossing their fates, exposing the truth. But the meeting turns into a collision – an infantile guy dreams of a high one, while Magda’s love for many years coexisted on a white sheet in the twilight of a one-room apartment. Love is not death - there was a place for an ordinary miracle in this film, as there was a kind of repentance. The heroes switched places, involuntarily Magda herself looked into the spying chimney, feeling herself a lonely woman, a public orphan, in love with a little familiar and almost dried up forever boy. Before the credits, the director invites the viewer to look into the eyepiece, see Tomek and Magda together, but the film takes the heroes away, leaving their fate behind the scenes.
The next film of the outstanding Polish household director Krzysztof Ksielowski became a kind of reference for film critics, a film to which reference is made. And this is very important to the creator, it is much more than applause of politeness.
The romance of secret lust, the stupid behavior of an immature feathered, irritable, mixed with the grateful, the behavior of the experimental heroine, all this creates a special sad music of the film, penetrates into the soul of the viewer with its melancholy step. After all, the director, like a hypnotist, performs his task, known only to him, the results of the performance of which will never be known, even when the hypnosis of genius envelopes many viewers.
The focus wheel of the telescope, the wheel of the lever of the telephone, she takes off her shoes and puts them on the table, he sleeps and sees. He can't wake up from this dream. A dream is a dream, a dream. He sees his Miss Poland through the glass, while in his dream - through the window glass, through the glass of the booth of a postal worker. He changes the glass container under her door - empty for empty, empty for full. Breaking glass is like waking up. The alarm is set and we shudder when it rings.
' You cried yesterday, Mrs. 39. We are facing a moment of change, a transition to a new, qualitatively different level of ownership. One-sided synchronization of actions is replaced by open encroachments on personal space, in fact, as personal as the curtains are not drawn in the window of the house opposite.
The offender and adulterer care little about the danger unobtrusively emanating from the object of lust. However, how can you keep silent in the tube when the hand inexorably reaches to break the glass?
'Persistent taste of milk in the mouth'
Before going to bed, I wanted to watch another movie from my big must-see list. This time the choice fell on the Polish drama Krzysztof Kieslewski, which I noticed on SFF. I don't even know why she interested me. I don’t really like watching movies of the last century, but in this case I made an exception to the rule for the sake of a closer acquaintance with Polish cinema. And the title of the film is kind of charming.
In principle, I do not regret the time spent. Quite normal drama. There's not much going on. The whole story can be told in a few sentences, but then it will not be interesting to those who have not watched. The bottom line is that the timid kid Tomek likes to peek at the woman from the next house. There is nothing dangerous in the mania of the young man. Just childish pranks like silence in the phone, false calls of special services, etc. It's just childish. This “love” was rather platonic, since the main character needed nothing more. He just wanted to see Magda and came up with new reasons to meet. Then the notice will send from the post office, then the milkman will settle in the area.
And Magda does not notice the pretty boy who constantly turns in front of her nose. She has a busy personal life. Therefore, the confessions of Tomec, both in surveillance and in love, fall upon her like thunder from a clear sky. And then there is no need to tell how it all ended. Especially the finale is open. It is impossible to say with certainty what will happen to the heroes. And the point is not whether they will be together or not. He had already made Magda believe in love in such a youthfully stupid way. But otherwise, she might not be able to look at herself with different eyes and believe that she can get more than constant encounters for intimacy.
It is noteworthy that both heroes do not cause censure. Neither the personal life of the Magdas nor the strange fetishes of Tomeka do not prevent the viewer from understanding each of them and even imbuing himself with some sympathy. The actors played well. A pleasant musical accompaniment caressed the ear. But still, the film was in the background for me. It wasn’t boring, but it didn’t get into that atmosphere. You just peek at both characters, but not through binoculars, but into the monitor screen. Not bad at all. You can watch it once. Polish cinema is not very popular.
Love. What can we say about that word? This is probably the strongest feeling a person can feel. Love can make you happy for a lifetime, or hurt you so deeply that you can never live again.
Krzysztof Kieslewski is a director who knows how to make very simple films that anyone can understand. Because Krzysztof captures real life, real feelings and real emotions. Anyone who has seen his films can safely say that he experienced almost all the feelings that Krzysztof says.
The film tells about a young man of 19 years – Tomek. He's a quiet guy who works two jobs. He has very few friends and relatives. But he has one secret - for a year he has been spying on the beautiful woman Magda, who lives opposite. Magda has no idea that anyone is following her. Over the course of a year of observation, Tomek falls in love with Magda, but has nothing to say to her. And one day, he tells her everything. This is where the whole drama begins.
From the beginning, the movie seemed a bit boring. But this is really just the first impression of the movie. Every minute there are different feelings on the screen. I want to watch the movie without stopping. I want to know what will happen next?
The acting is just perfect. In every country there are unknown actors who play very sensually. Thanks to such actors, the film seems real, not played. It's like a cameraman just taking pictures of ordinary people. Citizen Shapolovsk (Magda) perfectly played the role of a woman who left many, and who does not know where to go in this life. Olaf Lyubashenko, although very young, played no worse than his colleague. He played the role of a boy in love who doesn’t know what to do when he loves so much. This duet showed the Polish love that will remain in my memory for a long time.
The strongest film about the relationship between a man and a woman. Sad but beautiful. Sad but real. Krzysztof Kieslewski is the pride of Poland.
9 out of 10
Tomek, a 20-year-old phlegmatic young man, moves into his friend’s mother’s apartment and occupies his small room in a high-rise building. In addition to the room, he inherits a card with an extremely laconic inscription CHRD, which means: "Classy ass, often gives." So his friend described 40-year-old Magda, who lives in the house opposite.
Tomek, a pupil of an orphanage, gradually becomes more and more fascinated by a beautiful stranger. He begins to peek at Magda first through theatrical binoculars, and then into the stolen spyglass. In a young man craving love, the admiration of an adult woman is imperceptibly transformed into a deeper feeling. And finally, Tomek decides to confess to Magda of his feelings.
The story of the secret love of a young voyeur, watching the intimate life of an experienced unmarried woman, gradually crosses the border of innocent observations. In an effort to get closer to the lady of Balzac age, and, if possible, to limit her love contacts, the secret sigher begins to actively invade her life, inventing all sorts of tricks for this. Work at the post office allows Tomek to steal Magda’s correspondence and forge false notices, and in a piquant situation, he even calls the gas service to her house.
Using covert observation as a key dramatic move, Keslevsky removes a parable about alienation and awkward attempts to overcome it. The wise director managed to give the biblical allegory and philosophical sound of a seemingly ordinary everyday history, and even on such a “beaten topic” as love.
With rare delicacy is presented the inner change that occurred with a young man, just beginning to live, and a mature woman, but not endowed with deep feelings. The dramatic development of their “connection” leads both to discover the ability to love. This is the highest good, which he had never known before, and she seemed to have lost faith in its existence.
This is the second, after the “Short film about the murder”, the picture of Keslevsky, which grew out of the famous series “Decalogue” and lasts 30 minutes longer than the television version. In a film about murder, the original biblical commandment was "Thou shalt not kill"; here, "Thou shalt not commit adultery." Largely due to these two films, released even before the premiere of the television series, Keslevsky began to be considered one of the main characters in European cinema.
