Tag Archives: Andrzej Zulawski

Andrzej Zulawski – Diabel AKA The Devil (1972)

Quote:
At the climax of Harold Pinter’s vaguely allegorical but wholly chilling play The Birthday Party, the broken hero is being taken away by strangers, no doubt to a bad place. The locals, who have no idea what sort of political act of terror is being committed, stand by helplessly, but one of them rises and says, “Stan, don’t let them tell you what to do!” Even though Pinter never makes a specific point of reference as to what deplorable regime is imposing its will, the viewer intuitively understands the message. So it is with Andrzej Zulawski’s The Devil. International audiences unfamiliar with Polish politics might not know or care that his horror film was based on actual events from the turbulent 1960s, during which communist authorities provoked a group of Warsaw students into staging anti-censorship protests. Read More »

Andrzej Zulawski – Mes nuits sont plus belles que vos jours AKA My Nights Are More Beautiful Than Your Days (1989)

Lucas has invented a new computer language but at the same time he has been informed about his strange terminal illness during which he has been gradually losing his memory. Shortly after that he meets Blanche who acts as a medium in a bizarre traveling show. Dying Lucas follows her to the sea resort where they spend together several days and nights. Read More »

Andrzej Zulawski – Boris Godounov AKA Boris Godunov (1989)

Andrzej Zulawski’s take on Mussorgsky’s opera. Conducted by Rostropovich.

Quote:
This is the best opera-inspired film I have ever seen. It’s not what we frequently see: a filming of a theater performance. This is a masterpiece of its own, with the force and drama of Mussorgsky’s music, but added with the insight of a professional film-maker. You will see wonderful scenes and color, with some artistic freedom to achieve cinematographic characters that really makes you understand the inner drama of a complex and appealing historic personage. Read More »

Andrzej Zulawski – L’Important c’est d’aimer AKA That Most Important Thing: Love (1975)

Quote:
Andrzej Zulawski’s L’important c’est d’aimer is a film of dishevelled lyricism, bursting with noise and anger; an insane storm-tainted flamboyant opera; a visual symphony with apocalyptic emphasis featuring sleaze-bags, clowns, drop-outs, wimps, bastards, and “puppet shows depicting lives of complete scoundrels and ruined careers.” Where some people will see nothing but a graphic canvas of pain, horror and a bloody parade of violence, others who analyze the darkness will see a call for compassion. This is the story of a fragile woman, Nadine Chevalier, who supports her failure-obsessed companion to the bitter end, and who meets a photographer weighed down by remorse. Read More »

Andrzej Zulawski – Possession [+Commentary] (1981)

Summary:
A young woman left her family for an unspecified reason. The husband determines to find out the truth and starts following his wife. At first, he suspects that a man is involved. But gradually, he finds out more and more strange behaviors and bizarre incidents that indicate something more than a possessed love affair. Read More »

Andrzej Zulawski – La note bleue AKA The Blue Note (1991)

Ultimately a story about destiny, “La Note Bleue” seems a personal reflection of Zulawski’s experiences, for both he and Chopin were Polish expatriates in France.

The film is highly theatrical and occasionally hilarious, but despite its ups and downs, the movie’s highlight is Chopin’s music, brilliantly performed by Polish pianist Janusz Olejniczak. Read More »

Andrzej Zulawski – L’Amour braque AKA Limpet Love (1985)

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Synopsis:
Inspired by Fyodor Dostoyevsky’s The Idiot and intended as “a homage to the great writer,” this film is set in modern France rather than 19th century Russia. This is a story of Léon (Francis Huster), who has been recently released from a mental asylum and claims to be a descendant of a Hungarian prince. On his way from Hungary to France, he meets Mickey (Tchéky Karyo), a hood who has committed a successful bank robbery and plans to take brutal revenge on the brothers Venin for what they did to his girlfriend Mary (Sophie Marceau). Léon can hardly understand what Mickey is up to but he follows him everywhere and soon falls in love with Mary. This odd love triangle resolves in a tragic ending. The frantic pace of the film’s action can be compared to that of a runaway, hell-bound train. The colors and sounds go out of control, and violence abounds — all of which is intended to convey to a viewer the craziness of the time.
— (allmovie) Read More »