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I shall tell of another adventure that is all the more strange...” — Witold Gombrowicz, 1965

A film by Andrzej Zulawski Victoria Guerra Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

A film by Andrzej Zulawski
Victoria Guerra
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

This sentence was more or less lost in a late 1960’s translation of Kosmos. Sadly it would be that sentence that served not only as my introduction to a novel but to the Polish writer. Memory is a funny thing. While I forgotten most of the novel, it is that first sentence that stayed forever branded into my mind. I decided I needed to revisit  When I learned that Andrzej Zulawski was about to shoot a film adapted from Witold Gombrowicz’s Kosmos, I decided to refresh my memory beyond a single sentence. I expected to be confused as I did remember it had been clunky regarding translation. I was excited to discover that the novel that had been warded the 1967 Prix Formentor Award for literature had been re-translated from Polish into English. Yale University Press published Danuta Borchardt’s new translation of Gombrowicz since I had last thought of it.

Kosmos Witold Gombrowicz, 1965

Kosmos
Witold Gombrowicz, 1965

Witold Gombrowicz has always interested me. While he was a fiction writer he is equally known as a diarist. Where does his fiction merge into his reality and experience? How does the English reader know he/she is able to understand his prose’s complexity? German and French readers had better access to his work thanks to more accurate translations. My introduction to his work came with an understanding that he had to firmly defend his most popular work, Ferdydurke, from critics who felt it was satire. Satire had not been Gombrowicz’s purpose. His novels are known for exploring issues of identity and existentialism under the pressures of Nationalism and fast social change. But these explorations were made with a sense absurdity that tied closely to dark humor.

His characters are not fully developed. Their identities are fragmented by the repression, oppression and tyranny imposed by both culture and society. These characters roam about trying to formulate understanding of self/life under the strain and disturbing acts that forever alter the circumstances of being. And while there is a grim level of pessimism that leans against established institutional rule — Gombrowicz disagreed that his work was connected with nihilism, but the darkness is most definitely waiting.

Translated from Polish to German into French and fused into English. Witold Gombrowicz's often mistranslated "Kosmos" is resurrected through another lens. Victoria Guerra Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

Translated from Polish to German into French and fused into English. Witold Gombrowicz’s often mistranslated “Kosmos” is resurrected through another lens.
Victoria Guerra
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

Revolutions, wars, cataclysms — what does this foam mean when compared to the fundamental horror of existence? …My literature must remain that which it is. Especially that something which does not fit into politics and does not want to serve it. I cultivate just one politics: my own. I am a separate state.” — Witold Gombrowicz, Diary. Published 1988.

The improved translation helped me in understanding that much of my frustration was something Gombrowicz intended. The characters navigating within his Kosmos are never fully fleshed out. We know that our protagonist, Witold  has trouble waiting to crush him back in Warsaw. We also know that Fuks hates his boss. But we never know what the trouble is or why the boss is hated. In fact we are given limited information about every character. The novel’s extremes and paranoias begin to feed the reader’s imagination. Every action and decision seems to be a reaction to matters we can never fully understand. This vastly improved translation offers more insight into Gombrowicz’s complexity but it also grants permission to not second-guess the awkward phrasing.

The new English translation for Kosmos provides an entirely different read. In the novel two young men seek refuge from the pressures and hardships they experience in Warsaw. They escape the city to what they anticipate will be the nourishing warmth of the country, but they arrive with mutual respective existential crisis and life fatigue. They will soon face a series of random incidents that begin to shift Wiltold further into paranoia, existential crisis as he feels threatened. Gombrowicz brings humor into the equation. Paranoias, fears and angst begin to leap off the charts of rationality. The characters magnify the situations and incidents. They soon feels less coincidental and can be assumed to be intended threats. Witold is unable to consider these incidents as “random.” The unexpected chaos signals pending doom.  His ideas of existence and identity are as fragile as they are extreme.

"Tolstoy wrote that our biggest mistake is to confuse 'the pretty' with 'the good.'" Jonathan Genet Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

“Tolstoy wrote that our biggest mistake is to confuse ‘the pretty’ with ‘the good.'”
Jonathan Genet
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

Isn’t it true? I thought, that one is almost never present, or rather never fully present, and that’s because we have only a halfhearted, chaotic and slipshod, disgraceful and vile relationship with our surroundings.” — Witold Gombrowicz, 1965

Boris Neleop interviewed Zulawski after Cosmos had received its world premiere at Locarno International Film Festival receiving the Best Director honor. Neleop discussed the difficulty of finding accurate translations of Kosmos. The director agreed and pointed out that the film was based from the novel’s original Polish language.

Luckily, I’m Polish so I can read it. More luckily still, words like “bleurgh” in Gombrowicz mean nothing. What is it? Alban Berg, the composer? A cliff maybe? But in French it means the retching sound—bleurgh. Meaning you want to vomit. If you see a bad movie and someone asks you how it was, that’s what you say: bleurgh. So, it’s a happy coincidence.

Neleop attempted to engage the artist into a discussion regarding what he perceived to be a shared sort of spasmodic manner in both Gombrowicz’s novel and the great filmmaker’s work. Zulawski disagreed with the connection and seemed intent on avoiding the spasmodic with either work.

I don’t agree with you. I don’t think Gombrowicz is spasmodic: he’s quick, he’s rapid, he’s short and extremely rhythmic and… Do you know the word “caustic”? His writing is never hysterical. It’s caustic. It’s galloping but dry. I don’t think the actors are spasmodic at all. They are in their own delirium, but for them this delirium always has a profound logic. It’s not a bunch of mad men in an asylum. They are petit bourgeois. Witold wants to write a novel until he falls in love with this girl, who never has anything intelligent to say. His relationship with his young friend is really close, almost homosexual. So, it’s a complicated little cosmos.”

Andrzej Zulawski, 2014 Photograph by Marek Szczepanski

Andrzej Zulawski, 2014
Photograph by Marek Szczepanski

In answering a question regarding his decision to lift the novel out of its pre-war Polish context and moving it to 21st Century Portugal where a group of French people are living, Zulawski responded:

If Cosmos had been filmed according to the novel, it would’ve been a very depressing and ugly film. Why the hell should I see those terrible people? Sounds like a basically stupid question. It’s not. It’s like life. Why should I spend my life with ugly stupid petit bourgeois people? I won’t. I won’t spend my life in Hollywood either. I don’t like these people, I don’t like their stories. So it leaves you to stay alone for fifteen years. In my forest.”

Zulawski’s rejection of cinematic norms is nothing new, but after he made La fidélité he retreated. That film was released in 2000. He never retreated into a forest of seclusion, but it would be fifteen years before he made Cosmos. His return to cinema was not a safe one. Adapting a complex work like the Polish novel, Kosmos, was never going to be an easy cinematic proposition. And while his final film does articulate itself with some newly discovered levity, Cosmos has a great deal in common with some of his key works.

"Love me." Romy Schneider That Most Important Thing / L'important c'est d'aimer Andrzej Zulawski, 1975 Cinematography | Ricardo Aronovich

“Love me.”
Romy Schneider
That Most Important Thing / L’important c’est d’aimer
Andrzej Zulawski, 1975
Cinematography | Ricardo Aronovich

This film’s title is actually translated as The Most Important Thing is Love and Romy Schneider’s performance would have been enough to secure the film’s place in French film history. But there is far more continued within the frames than an iconic actor’s work. The film marked a new turn in filmmaking. Zulawski’s examination of the artist finding fulfillment in France’s mid-1970’s theatre scene leaves a mark. It is not so much the point of the movie that matters but they way in which that point flows off the screen. Visceral, angry, obsessive, compulsive and often frantic — L’important c’est d’aimer takes the concept of a tragic love story to poetic heights. The film’s fever-pitched passion and energy haunt the viewer long after the film ends. A contemplation regarding abysmal cinematic opportunities, the protagonist is often looking directly into the audience. While the film is realism it wants to push itself off the screen, into the theatre and run rampant. The characters Zulawski presents are not really all that odd, but the way in which they move, speak and propel is most assuredly eccentric.

"It doesn't hurt." Isabelle Adjani goes beyond the distance... Possession Andrzej Zulawski, 1981 Cinematography | Bruno Nuytten

“It doesn’t hurt.”
Isabelle Adjani goes beyond the distance…
Possession
Andrzej Zulawski, 1981
Cinematography | Bruno Nuytten

Isabelle Adjani gave Zulawski the performance of a lifetime in one of the most confounding films of all time. No one was prepared for 1981’s Possession. Adjani’s work on this film was so taxing that it triggered a very real emotional break. It only takes one viewing to underscore this as valid truth. Adjani was dancing on a high wire without a net. Zulawski was able to inspire her to start her performance with emotional hysteria set at Level 5 and then required her to turn it up to Level 21 before the experimental film comes to a crashing end. It is a performance that has to be seen to be believed. Possession remains a testament to the talents of both the leading actor and its creator.

There are several ways to interpret Zulawski’s 1981 film. At its most obvious level it is an exorcise in Horror Surrealism hinged to turmoils of the psycho-sexual. And, from another perspective, it is a metaphorical depiction of divorce. And it is a matrimonial breakup that takes on apocalyptic proportions. Possession is completely unique, surreal and metaphorical study of identity it extreme crisis. And it is fueled by an inhuman and intolerable repression of control. This control might be that of a stifling marriage or one propelled by government control. Or it could be a combination of both. It doesn’t matter how one chooses to interpret Andrzej Zulawski’s Possession — it works from any vantage point.

The passage of time has not dulled its sharp edges. The special effects and gore are still jaw-dropping. This is an Art Film that has become Cult and it continues to spark provocative reaction. It took decades for this very personal film to find its audience. There are several different versions of Possession floating around — all the result of censorship. Mondo Vision beautifully restored this film several years back. It is an essential film for any fans of Surrealism and Horror.

"Are you lost?" Francis Huster is the idiot gone mad with love. L'amour braque / Mad Love Andrzej Zulawski, 1985 Cinematography | Jean-Francois Robin

“Are you lost?”
Francis Huster is the idiot gone mad with love.
L’amour braque / Mad Love
Andrzej Zulawski, 1985
Cinematography | Jean-Francois Robin

Andrzej Zulawski’s adapts Dostoyevsky’s The Idiot in a neon-drenched fever dream. 1985’s L’amour brace’s characters, sets, cinematography, editing and acting indicate that we might have landed in some alternate world. The film moves as if it was pulsating forward via an amphetamine, cocaine and whiskey fueled injection of psychotic convulsions. Zulawski’s experimental film is a twisted Neon and most certainly avant-garde. The film is violent, but the violence never feels “real” and the graphic sexuality is presented in paradoxically restrained ways. The only time the film seems to be able to slow down is when Sophie Marceau and The Idiot consummate to a point of erotic “enjoyment” — And, even then, it almost feels like the camera is so jacked-up it can barely wait to continue it’s frenzied trajectory.

Easily one of the most stylistically influential films to ever come out of French cinema — Kathryn Bigelow and Christopher Nolan among them. And it had an impact on music videos of the day. This world of thieves, addicts, artists, whores, drug dealers, pimps, terrorists, anarchists, perverts and lovers is chaotic but somehow organized. Mutually-conflicted screeching rants, dances and terrorism form into a sort of dancing race against time. Zulawski seems to be inspecting everything from political activism, perversion, addiction, insanity, rage, the theatre, criminal motivation, rebellion, sex and love — but through a camera that is dependent on hallucinogenics for vision. Like PossessionL’amour braque is completely unique unto itself. It is safe to state that no other filmmaker will manage to make a movie remotely like these two.

"That's why there are common saints. God's morons with a soul but empty brains." Boguslaw Linda and Iwona Petry fall into mutual insanity... Szamanka / She-Shaman Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

“That’s why there are common saints. God’s morons with a soul but empty brains.”
Boguslaw Linda and Iwona Petry fall into mutual insanity…
Szamanka / She-Shaman
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Andrzej Zulawski returned to Poland for 1996’s SzamankaShe-Shaman. Filmed in the newly freed Poland, the director brought the level of intense sexual obsession beyond expectation. It earned the nickname The Last Tango in Warsaw. While it is true that this film pushes further with graphic sexuality, it is seldom actually erotic. Boguslaw Linda and Iwona Petry push themselves to the extremes that are defined within the script. This might very well be the most challenging of Zulawski’s work. The cinematic provocation is not within the frantic obsessive actions and sheer frenzy, but lies far deeper within the film’s political and philosophical context. The two protagonists pursue their sexual and existential needs toward a deeply nihilistic end. Szmanka aches toward a brilliance that is almost impossible to endure.  Inexperienced actress, Iwona Petry, is near brilliant in her role, but she opted to end her acting career after Szamanka‘s release. Another interesting example of an artist agreeing to join the director on his journey but emotionally exhausted to the point of breaking once arriving at the destination.

Capturing "reality" in photography while emotional intensity pushes it out of frame. Sophie Marceau and Pascal Greggory La fidélité / Fidelity Andrzej Zulawski, 2000 Cinematography | Patrick Blossier

Capturing “reality” in photography while emotional intensity pushes it out of frame.
Sophie Marceau and Pascal Greggory
La fidélité / Fidelity
Andrzej Zulawski, 2000
Cinematography | Patrick Blossier

Zulawski’s La fidelity / Fidelity was released in 2000. The film’s plot is more conventional, but once again his characters burn with almost convulsive urgency. This film forges a path that left many viewers cold. Its highlight is Zulawski”s great love and former muse, Sophie Marceau. She is brilliant in the role and her director understands how to capture not only her beauty but her energy. Years later I remember thinking that it seemed a pale sort of entry to serve as this filmmaker’s final work. Luckily it wasn’t.

Available from Mondo Vision La femme publique Andrzej Zulawski, 1984 Cinematography | Sacha Vierny

Available from Mondo Vision
La femme publique
Andrzej Zulawski, 1984
Cinematography | Sacha Vierny

My admiration for Andrzej Zulawski runs deep and it is based within the realm of the personal. He was a brilliant artist who refused to be repressed, suppressed or held to any strict rule when it came to his art. And despite what some have attempted to insinuate, Zulawski was an admirable and kind person. His heart and passion shine through all of his films. Zulawski was always reaching into, under, over and well above the human need for love and understanding.

Even within the bleakness of Possession and Szamanka beats the heart of a very human filmmaker. I’ve decided not to touch on Diabel, La femme publique or On the Silver Globe  — these three films are unique masterworks that I am unable to address in a short blog. I will note that these three films are not really the best starting points for a Andrzej Zulawski neophyte, but then again — maybe they exceptional places in which to take that first plunge.

Victoria Guerra Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

Victoria Guerra
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

Boris Neleop’s attempt to engage Zulawski in a conversation about “spasmodic” characters is valid. Nearly all of Zulawski’s characters are extreme. While everything around them might be pushing inward to restrict / oppress — his characters refused to stay within the bounds of circumstances had designed. The need for knowledge, satisfaction, love and understanding leave them no choice other than to be extreme.

This auteur was always a bit sensitive when pressed to discuss the hyper energy or over-the-top passion found in his films. A word like “spasmodic” would make Mr. Zulawski recoil. He shut this sort of commentary so far out of his mind that consideration was no loner possible.

Mr.Neleop is correct: Witold Gombrowicz’s characters are a bit, well, spasmodic. And I suspect that it was their very nature that attracted the great director.

Victoria Guerra Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

Victoria Guerra
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

Zulawski had grown up with Gombrowicz’s literary work. My initial knee-jerk reaction toward Zulawski adapting Gombrowicz was that these two thinkers formulated thought in direct opposition to the other. I do not think Gombrowicz liked people. He thought and wrote about the existential, but these pursuits seemed formed from an essential repulsion toward humanity. This is interesting because his fiction is more than a little autobiographical. The way in which Gombrowicz creates the characters of his Kosmos is not kind. Zulawski’s entire film career was focused on the darker aspects of human nature — yet he loved people. He was a fighter and a rebel, but he was never anti-social. And he most certainly was not a pessimist. And, unlike Gombrowicz, he was not vain or concerned when it came to criticism or reward.

decorating lips. Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

She paints her lips as if with blood because she really wants to be an actress…
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

I’m scared of the forests. In the midway of this mortal life I found myself in a gloomy world, astray. Gone from the path and even to tell, that forest, how robust its growth, which to remember only, my dismay. Renews in bitterness not far from death. All else will I relate discovered there.

Witold is frantically walking through the edge of a forest. Jonathan Genet has the look of someone from another era, but we already know that Zulawski’s Witold is a 21st century character. At first glance he could be a European fashion model, but his behavior is based within panic. He seems to be consistently on the verge of a mental break. When we meet Zulawski’s Fuchs, played by Johan Liberia, we discover they have traveled in a nice car. Fuchs’ name has been altered in spelling but he is still trying to escape the tyranny of two horrible bosses. In this new universe we know that his employers are high-end fashion designers.

While Wiltold is fragile and paranoid, Fuchs is robust and seemingly up for just about anything. Both behave in ways that lean toward the aberrant. Wiltold wants only to study, but he detests what he studies. Fuchs is primally focused on off screen violent sexual conquests. He reassures his friend that he plays safe, but bleeding wounds, bruises and other bodily issues are scars to his masochistic tendencies. And while it is never fully stated, these two friends would appear to share a bond that goes further than brotherly love. There are hints of a mutual sexual attraction and romantic fondness.

Something sinister is going on! Jean-Francois Balmer, Sabine Azema and Johan Libéreau Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

Something sinister is going on!
Jean-Francois Balmer, Sabine Azema and Johan Libéreau
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

Here, in Zulawski’s Cosmos, the two friends have run from France to Portugal. Fuchs is more lighthearted but still aches. Witold’s neurotic need to examine every move / object under his philosopher’s magnifying glass fractures his grasp of reality. The first thing Wiltold experiences after he secures his navigational balance is an encounter with a forest. It is one of the aspects of the world he hates most. As he rushes through the wilds of this forest he encounters the first of many grotesque encounters — a dead sparrow dangling from a string laced noose.

Soon he will discover ghost-like stains upon his rented room’s ceiling. These stains seem to be point toward something.

Fuchs also notices but is more curious than repulsed. The shape of a rake appears in the stain — and soon they discover an actual rake that directs their gaze upward to two small planks of wood hanging from a tree. The planks are tied together and hang by the same string from which the sparrow hangs. They hear talk of a chicken that was spotted hanging not too far away, but they never see it. And thus Wiltold and Fuchs begin to play a paranoid sort of game to attach meaning to these seemingly random signs. The game leads to an axe, a hammer, murder, death and metaphysical omens.

Madame is just overexcited... Sabine Azema Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

Madame is just overexcited…
Sabine Azema
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

A murdered cat hangs in the courtyard of the Bed and Breakfast. An eccentric married couple have been renting two of their rooms to keep up with mounting expenses. The wife, called Roly-Poly in the Polish novel, is played with goofy  nervous energy by the ever stylish Sabine Azema. We never hear her referred to with the novel’s cruel nickname. Here she is known as Madame Woytis. We soon notice that the female head of the house has a tendency to abruptly shut off in mid speak / movement. Frozen like a photograph. Her beautiful daughter explains, “Oh, it happens to her when ever she gets overexcited.

The daughter is Lena who is married to a seemingly successful business man. He seems to be in constant meetings with a mysterious Russian client. Wiltold is immediately vexed by Lena. But it is her niece, Catherette, with whom he is smitten. Catherette has taken the position of housekeeper. She is devoted but worries her aunt, Madame Woytis, because she refuses to have her mutilated lip cosmetically re-defined. We are told she was in a bus crash. But her mutilation looks more biological in origin. Her lip holds an entrancing mix of disgust and erotic curiosity for both Wiltold and Fuchs.  The male head of the home is Lena‘s stepfather, Leon, played with unhinged lunacy by Jean-Francois Balmer.

"Tolstoy wrote that our biggest mistake is to confuse 'The Pretty' with 'The Good.'" Victoria Guerra and Clementine Pons Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

“Tolstoy wrote that our biggest mistake is to confuse ‘The Pretty’ with ‘The Good.'”
Victoria Guerra and Clementine Pons
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

Interactions with the family are beyond eccentric. This is a house of organized lunacy and chaos. When Wiltold meets Lena they shake hands maniacally and for an extended time. Soon they are “secretly” copying each other’s animated hand movements. But their odd flirtation is painfully over-the-top. Yet everyone around them is too preoccupied with their own strange non-senscial conversations that only Fuchs notices. The antics of this family appear and sound like something one would see in a  slapstick comedy. There is only one catch: none of it is funny. It is simply strange.  

Unlike Gombrowicz, Zulawski has no interest in making us laugh. He aims to throw his audience off balance. As frantic action and illogical dialogues ape the gestures/sounds of Keystone Cops — the film quickly forms into absurd surrealism. And yet, the film’s cinematography and musical score tease that we are watching some fucked-up romantic mystery. And these are romances and mysteries that seem unsolvable.

As omens of sinister consequence begin to mount the two visitors only become more confused. Wiltold takes a worrying turn when he starts to adapt to sinister cruelty. Ants roam through their food, slugs slither in butter, creepy beetles crawl out of Madame Woytis‘ soup, animals are killed, midnight axe chopping, mutilated lips, fever dreams and a priest who lets loose a swarm of flies when he drops his pants — all of which formulate a sense of doom. Witold is certain that this pending doom threatens to push him into The Void.

When tragedy does strike it fails to register as anything of consequence to the family. Leon takes to the wilderness singing out into what he points out is The Void.

"Why seek the hand of another when we have our two selves?" Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

“Why seek the hand of another when we have our two selves?”
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

At the film’s mid-point Wiltold has abandoned his studies. Instead he obsesses over Lena and her family. He becomes a willing participant in the sinister happenings that bother him. He turns to philosophical rhetoric for comfort, but begins to chart ideas into some vague sort of story. When we finally see a bit of his writing it is presented on his laptop screen. It is in French and not translated for non-French speakers, but it translates as:

The weight of here and now has become, like the beurk, decisive.

This is in reference to the nausea that begins to overpower Wiltold. Of course we think that Wiltold is writing a story, but there are more than a few hints that he is as motivated by cinema as philosophy. Zulawski has Wiltold and Fuchs poke fun at his own films. At one point it is mentioned that all of these strange happenings might make a good book, but Wiltold disagrees and figures it wold serve better as a movie. Zulawski’s cinematic puzzle ultimately tosses us into meta-film, but this is not an easy-out. It is the only resolution available for Witold, Fuchs, Lena and all involved.

Zulawski takes a poke at Gombrowicz. Of course he has been poking all along. When Fuchs offers a suggestion to the mysteries that have taken place, Witold pulls a bit of met-fiction by explaining his name:

“There’s a reason I have Gombrowicz’s first name. He never knew how to finish his novels nor their meaning.”

 

Surreal, absurd, bizarre and without end. Welcome to Andrzej Zulawski's Universe... Cosmos Andrzej Zulawski, 2015 Cinematography | Andre Szankowski

Surreal, absurd, bizarre and without end. Welcome to Andrzej Zulawski’s Universe…
Cosmos
Andrzej Zulawski, 2015
Cinematography | Andre Szankowski

Andrzej Zulawski has said that Cosmos was not only his weirdest film — it was one of the strangest films he had ever seen. I do not agree, but his Cosmos does indeed present an alternative universe. And it forms and is presented in a bizarre range of ways and manner. There is an offer of love, but this universe refuses understanding. Zulawski’s Cosmos is simply idiosyncratic and would far prefer to leave its inhabitants with their own conclusions. But they should never give up or jump off into The Void. This universe is simply too magically odd to skip.

Find Boris Neleop’s interview with Andrzej Zulawski —  here

Mondo Vision’s restored Andrzej Zulawski’s films http://www.mondo-vision.com

Matty Stanfield, 11.22.2016

 

 

 

 

How? Why? REPULSION Roman Polanski, 1965

How? Why?
REPULSION
Roman Polanski, 1965

It didn’t quite make him a household name, but Roman Polanski’s low-budget psychological thriller, Repulsion, would spark a fracture in cinema that inspired countless film artists. Three years later he would permanently place himself in both popular and high art culture with the release of Rosemary’s Baby. But it was in 1962 that Polanski made a very deep mark with his razor sharp psychological thriller, Knife in the Water.

Armed with a some basic handheld cameras, a very small budget, one sailboat and three actors — Polanski and his cinematographer, Jerzy Lipman, managed to create an unforgettable film. Capturing characters, space, eroticism, tension and suspense in some of the most elegantly simplistic ways, Knife in the Water sears into the mind’s eye.

Playing at The Beekman! Knife in the Water Roman Polanski, 1962

Playing at The Beekman!
Knife in the Water
Roman Polanski, 1962

 

*** These shots vary in quality as the newly remastered version has yet to be released to Blu-Ray, but it will be available in the near future.

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Knife in the Water

Roman Polanski, 1962

Cinematography, Jerzy Lipman

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“Give me back my knife.”

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” So, you do know how to swim.”

 

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“You’re just like him… only half his age, and twice as dumb.”

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” Sailors get mast-headed for that…”

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“You’ve drowned a boy.”

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Matty Stanfield, 5.3.2016

 

Barbet Schroeder has always been interested in human obsessions and the dynamic of relationships, but when he got the idea to make Maîtresse he added something rather strange: Comedy. If you have never seen his infamous 1975 film, you should be aware of several things prior to watching it. The first of which is that this is essentially a very dark comedy about an unlikely love between a professional Dominatrix and a somewhat dim-witted would-be-thug.  The second is that it is probably the closest a film has come to capturing the true idea of BDSM as something more than a simple desire — for Ariane (Bulle Ogier) and her clients, it is a true obsession. While she might attempt to keep her professional life hidden in the strange world isolated in a cloistered series of rooms beneath her apartment, it becomes clear that this world is more than a way to earn money. Elements of her sadism have already worked their way into her sunny world.

Stylish lady with some secrets... Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Stylish lady with some secrets…
Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

Like her clients, this is an obsession meant to be hidden from the rest of the world to see. The third is that Maîtresse is a very graphic film. This is not a movie for the faint of heart. The final and most important general statement about Maîtresse is that it is a highly artistic and well-crafted film. While it does not deserve to be listed or thought of as Shock Cinema, it is a most certainly highly provocative work. Schroeder is an intellectually restrained artist, but he is most certainly putting himself in the role of provocateur when it comes to this unforgettable and odd movie.

When Barbet Schroeder began production of Maîtresse in 1974 he knew he was creating a provocative film, but he had no idea just how difficult it would be to secure distribution in 1975. It would be more than a couple of years before this infamous film would be seen much at all. The film was essentially banned and censored for over six years after the initial debut. The UK would prove the toughest nut to crack. Interestingly it was not so much due to the exploration into the world of a French Dominatrix which included graphic depictions of BDSM activities, nor was it actually due to anything tied up in fetish and kink and it certainly wasn’t the horrific visit to a Paris horse meat slaughterhouse. The bottomline reason Schroeder’s film was refused release into the UK was because it featured the back view of a vulva.

Maîtresse Barbet Schroeder, 1975

Maîtresse
Barbet Schroeder, 1975

To give the British Board of Film Classification their due — they were smart enough to actually state that the film’s refusal was related to the “excessive” degrees of fetishism. The real reason BBFC denied release to the film was not because a person was being whipped, it was because the audience could see her vulva. The board did not mind that the audience could see a penis being severely mistreated. They were upset that the man seemed to enjoy having his genitals mistreated.

Maîtresse was screened and received a limited release in the US. The distributor assigned the film an X-rating on its own. So limited was the release that very few film critics actually reviewed it. The New York Times quite liked it. But the film became notorious with relatively few people having ever actually seen it. That all changed when The Criterion Collection remastered and released it to DVD in 2004.

Maîtresse Barbet Schroeder, 1975 Criterion Collection, 2004

Maîtresse
Barbet Schroeder, 1975
Criterion Collection, 2004

While the uncensored theatrical cut of Maîtresse had been released to the UK via DVD starting in 2003, the transfers were not solid. Under their Flipside Editions, The British Film Institute released it to Blu-ray in 2012. Blu quality enhanced, the BFI release is actually superior to the Criterion Collection pressing. There has been some very loose rumors that Criterion may give the film another image/sound boost to re-issue to Blu-ray, but it is rather unlikely. The film’s graphic scene filmed in an actual horse slaughterhouse is truly horrific to watch. This scene is most likely intended to act as a sort of metaphor for a powerful beast being reduced to a powerless victim ultimately utilized as food. The scene arrives in the story when the leading man is feeling powerless and emasculated.

Even playing "footsie" takes a turn... Gerard Depardieu / Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Even playing “footsie” takes a turn…
Gerard Depardieu / Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

Note: Even by 1975 horse meat had already become a taboo form of food in more than a couple of countries. However it should be noted that while it has dramatically shifted away from favor, there are still butcher shops in France specifically reserved for the sale of this meat. All the same this is an alarming scene that will most likely put off a good number of people. As an FYI, Schroeder’s use of the footage is almost tame when compared to Rainer Werner Fassbinder’s use of Goethe recitation as the audience is led through the horrors of a slaughterhouse in 1978’s In a Year of 13 Moons. Fassbinder employed this form of human brutality to create a metaphor for fascism and despair. Unlike Schroeder’s movie,  Fassbinder’s film is not even remotely a comedy. Still both films carry a repugnant reputation for screening graphic screening of animal slaughter. Consider yourself warned.

All the same, it is annoying that the Criterion transfer is inferior to the one released by BFI Flipside Edition.

Wig and make-up perfected as well as an enhanced transfer. Maîtresse Barbet Schroeder, 1975 BFI Flipside, 2012

Wig and make-up perfected as well as an enhanced transfer.
Maîtresse
Barbet Schroeder, 1975
BFI Flipside, 2012

While one might expect a 1975 French film to be dated, it really isn’t. Even the clothing is not particularly 1970’s tacky. Let’s not forget that Karl Lagerfeld was in charge of costume design. …And the line between S&M to Lagerfeld is fairly short in distance.

And speaking of Sadomasochism, Maîtresse is one of the few films to actually craft a realistic depiction of this subculture. While many speak of Sadomasochism, the reality is that a true Sadist is not going to derive much pleasure from role-play. And while one might think of a Masochist as passive or willing victim, the true master of S&M role-play is always the Masochist. In other words, there is a very dark side to the games that many adults play. In Maîtresse the role playing is most definitely in action, but the games are being played with the rules loose and usually hidden. During the first half of the film it would appear that  Ariane takes no particular pleasure in what she does in the lair beneath her bright apartment, but Schroeder slowly begins to reveal aspects of her true nature as the film moves forward.

Going down below to a domestic torture garden... Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Going down below to a domestic torture garden…
Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

Ariane seems to take true delight in feeding a collection of venus fly trap plants. Her high-scale bathtub has been crafted to include a bottom chamber that she has filled with water snakes or eels who feed off small fish which she her maid/assistant pours into the mix. And of course as the battle of the sexes ensues we see examples of her need to remain firmly in the position of dominance.

Tighten up the gimp... Bulle Ogier & Client Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Tighten up the gimp…
Bulle Ogier & Client
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

The film’s perspective belongs to leading man of the story. Gérard Depardieu’s Olivier appears to be a harmless sort of guy, but it only takes a small opportunity and he is ready to take up the grift as burglar. And it only takes another moment or two before we realize that this burly young man is a criminal. The film’s plot begins as Olivier and a pal break into what they think is an empty Parisian apartment. Like voyeurs, we follow these knuckleheads into a creepy dark space. With only a flashlight to provide limited perspective, we understand within a few seconds that this is no ordinary apartment. The small light reveals gimp masks, gas masks, latex & rubber suits, a hanging noose, a sinister looking dental chair, something like a torture rack, loads of odd surgical type equipment, dildos, baby bottles, diapers, a wide variety of torture tools and a terrified naked man shivering in a dog pen.  This might all read a bit funnier than it is. I first saw this movie in Cambridge back in the 1990’s and it was and remains a genuinely creepy opening sequence. Soon these two thugs find themselves handcuffed together and to a radiator as Bulle Ogier’s Ariane tends to her clients.

Sexual attraction, crime, money and a battle for control is about to begin... Gerard Depardieu / Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Sexual attraction, crime, money and a battle for control is about to begin…
Gerard Depardieu / Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

This is a filmmaker’s movie. Gerard Depardieu is well cast in the type of role for which he was best known in his youth — a sort of primally sexy gentle giant. It is really through Olivier‘s eyes that the audience sees the film. While this man is far from innocent, he clearly has no understanding of the world to which he has entered. But it is both comical and interesting that he finds himself deeply attracted to Ariane. His desire for her begins as she one-up’s both he and his pal by managing to cuff them together with no hope of escape. His attraction only builds as she offers him a chance to make some money and leads him further into the dark corners of her domestic torture garden. As they approach a man dressed in female bondage gear, she demands that the client get on all fours. She straddles him and positions Olivier directly in front of the masochist’s face. Olivier looks more curious than shocked. She unzips her burglar’s fly, pulls out his penis and demands that he urinate in the client’s face. Olivier‘s eyes never leave those of Ariane. As we hear the urine release he shares a passionate kiss with her. Suddenly this brute of a man is in love.

And now we begin your punishment... A Masochist Client & Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

And now we begin your punishment…
A Masochist Client & Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

After a night of what appears to be romance funded by Ariane, the two lie in bed. There are no professions of love, but it is clear it is there. Schroeder’s screenplay and Bulle Ogier’s careful performance require no words for the audience to understand that much of her attraction / fondness for Olivier is grounded in his mix of dull intellect, brutish but placid assertions of dominance. Of course the deal-sealer for Ariane is that this man is unabashedly almost worshiping in his adoration. There is also no need for discussion regarding Olivier‘s confusion regarding the downstairs world of his love’s professional life. All Depardieu need to do is offer a glance and we know that he is even more confused than those of us in the audience.

And this must be the naughty girl in need of punishment...

And this must be the naughty girl in need of punishment… Bulls Ogier / Wealthy Clients / Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

When Ariane essentially tricks him into visiting a friend in the country, he has no idea that she is leading him into a Dominatrix scenario involving a group of wealthy devotees. Confused, unsure and fearful of being judged as less than a man Olivier agreed to remove his belt and whip the pretty and only female player in the chateau. It is clear that he simply does not understand why a tough whipping would provide pleasure. Eager to demonstrate his abilities to his new lover, he opts to softly tease the masochist’s vulva. Of course this only demonstrates his misunderstanding of this type of desire. The wealthy clients are amused as is Ariane. But Olivier and the audience are confused and worried that he is being used and reduced to some sort of walking joke.

When I saw Maîtresse for the first time back in the 1990’s I had been informed that it was a dark comedy. At this time it was hard for me to accept it as comedy. It seemed to me that the film was aiming far deeper than one anticipates from the genre. Despite my own desire to interpret the movie in a different way there were elements that simply did not seem to fit the action on the screen.

Meet the Whore-Madonna concept personified...

Néstor Almendros captures our Mistress in perfect frame to emerge with a halo for the man who will become obsessed. Meet the Whore-Madonna concept personified… Bulls Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Carlos D’Alessio’s musical score seemed odd. It is a rather charming bit of work that never fits into the world we and Olivier are exploring. In addition some of the darkest moments contained within the movie have no musical accompaniment. Seeing the film again after it had been added to The Criterion Collection, the comedy of Maîtresse hit me. Certainly not a comic experience that generates laughs as much as amusement — this is more a sense of bemusement. This is, of course, a French film. I love French cinema, but no one else presents comedy quite like the French. This level of dark comedy or comédie de l’ cruels has become more familiar outside of French cinema in the past decade. John Magary’s recent brilliant independent American film, The Mend, presents an incisive and rage-filled study of two brothers as the sort of dark comedy one might expect from France. Serious studies of humanity taking a turn toward the comical is not so odd to most of us anymore. Despite all of the transgressions and darker elements of identity, Maîtresse is most certainly a comedy.

Watching love's persona and identity change presents more than a little confusion for the boyfriend.

Watching love’s persona and identity change presents more than a little confusion for the boyfriend. Bulle Ogier / Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

A key to understanding Maîtresse is to know that nothing we see is eroticized. This is not an erotic film.

When we are given glimpses into the Maitresse’s world of punishment and humiliation it is either directly related to Olivier‘s sneaking around peaking or listening. Schroeder spent a good deal of time researching the subject matter of the film as he felt no connection to the world of S&M. Much of Bulle Ogier’s character is based on an actual dominatrix. He gained her trust and she agreed to allow she and several of her clients to be used in the film itself. Long before the idea of digital effects existed, Schroeder carefully placed the actual dominatrix in relation to his actress/wife’s positions. The actual members of the 1970’s Parisian BDSM Underground wear masks to protect their identity, but they are willfully accepting their mistresses’ punishments. All is filmed to make it look as if Ogier is the one applying nails, needles and other manipulations. Filmed without typical movie lighting or other stylings, these transgressive acts are presented with only the sounds that were occurring at the time of filming. The result is often jarring and more than a little shocking, but never eroticized.

Nothing is ever explained beyond the most limited of discussion. Like Olivier, we are left with only what we see and might already understand separate from the film. Unlike Olivier, we are hopefully not quite so simple in our thinking and reasoning. And let’s hope we are not male chauvinist pigs. Olivier has a deep-seated need to dominate his woman. Having grown into a world of cruelty and crime, he has no trouble formulating the idea that his girl is a prostitute in need of a strong pimp. He wants the role of her pimp. And he wants to find a way to help her earn even more money. Because it is all about money. Right?!? 

One simple bully who has met his match without even fully realizing it... Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

One simple bully who has met his match without even fully realizing it…
Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Tragically for Olivier, he is unable to grasp that Ariane needs no protecting and certainly no pimp. Ariane never states an opinion, but it is clear that she does not identify as a prostitute and would never even consider the idea of pimp in her existence. As Olivier becomes more and more obsessed with understanding what Ariane does and why people pay her to do it — he becomes even more determined to know all of her secrets. The identity of a certain person constantly being mentioned in relation to money either with her maid or on one of her two phones consumes Olivier.

It is at this point of the story that we fully begin to understand the depth of Ariane‘s own perverse sadistic urges. It would not take much for her to simply explain it all to Olivier, but she has far too much fun watching him struggle for his grounding and fret over the details of her life.

Even when Olivier’s tendencies toward domestic abuse begin to flare up, she maintains her sense of control.

He's just royally screwed a lot up, but there is simply too much joy to be found in his desperate need for her love and forgiveness. Who has the power now?

He’s just royally screwed a lot up, but there is simply too much joy to be found in his desperate need for her love and forgiveness. Who has the power now? Bulle Ogier / Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

When he puts his huge hands around her slender throat she plays it off as if a game. Poor Olivier doesn’t even pick up that he has failed to scare her. Later when he finally pushes things too far and our Maîtresse has had enough, she head-butts Olivier so hard blood begins to pour from his nose. Clearly shocked by her strength, his reaction is to attempt to warn Ariane that she too has been harmed. He is concerned. Ariane is unbothered by the self-damage inflicted by her head-butting. She is seething with anger.

It is the dim-witted Olivier who is emotionally crushed. This is not the first time we have seen this rough and huge man fall to pieces over his girl.  Control and cruelty are needs and that refuse to stay in that dark cave of torture secretly adjoined to her private home. These needs are not being fully satisfied by respecting most of her clients’ wishes and safe words. A Sadist wants real control and a victim. She is happy to play along with Olivier‘s limited view of women for the pleasure his pain provides.

She may look the part of angel, but this aspect is in appearance only.

Another key scene involves some personal and rather rough role-play between Ariane and Olivier. Schroeder wisely shoots this scene in a particularly ambiguous way. It looks like a violent public fight between the two characters as reality with the looming threat of rape. When the two end up in a garden shed of an elderly woman we hear Ariane‘s screams. As the poor old woman rushes to come to the aide of the petit blond woman, Olivier emerges with a switchblade pointed to kill. When Ariane walks out of the shed she is still pulling up her skirt. We might expect that she would feel empathy for the elder woman, but instead she merely leans into Olivier and mockingly suggests he leave the poor “old dear” alone. She skips away without even waiting to see what Olivier might do.

We never actually  know if this was a bit of role-playing or a real scenario that Ariane has manifested / navigated for some sadistic fun.

Punishing a key client, this is not a woman who needs or wants the protection of a man. Bulle Ogier  Maîtresse  Barbet Schroeder, 1975  Cinematography | Néstor Almendros

Punishing a key client, this is not a woman who needs or wants the protection of a man.
Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

Despite the dark elements of the on-screen actions, this is a story about the battle of the sexes. It is also an odd 1970’s twist on Feminisim. The key word here is “odd.” In many ways it almost seems a mistake that Barbet Schroeder opted to sculpt a very twisted romantic comedy from the BDSM clay of his story. There are so many aspects of Bulle Ogier’s Ariane it seems a bit of a waste of a great actress that she is unable to explore them. As I’ve stated several times, not much is ever explained about the title character.

Forever lingering with mystery...

Forever lingering with mystery… Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

The subplot of Ariane‘s situation is only mentioned in passing. I’m not sure I even fully noticed it upon my first viewing some 20 years ago, but it is wrought with dramatic potential. La Maîtresse is the mother of an elementary school age child.  An older gentleman (who may or may not be the child’s father) appears to have taken custody of the child. We may not know the full story here, but it would appear that Ariane is fine with this arrangement and most likely has intended it to be this way. When we see her with her child she clearly feels a stronger bond to her Doberman Pinscher. A beloved pet she has named Texas and claims to have trained to kill upon demand. We do not know if this is true, but it seems likely to be an accurate claim. Her young son appears to attempt to gain his mother’s attention, but Ariane is far more interested with Texas. When the boy walks off with his guardian/father, Ariane appears bored, but fixated on the dog. We never learn the name of her son, but she is more than happy to sneak away and join Olivier on a very strange drive in which the battle for power takes a surprising turn.

Orgasm without brakes! Hey, who is really driving this car anyway?!?!

Orgasm without brakes! Hey, who is really driving this car anyway?!?! Gerard Depardieu / Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Barbet Schroeder’s Maîtresse is an uncomplicated film about some very complicated people. The choice to keep it unexplained and unexplored is intentional. And as it turns out this was a very clever and wise decision. Maîtresse pulls us in just deep enough to make us squirm but never so far out that we need to grasp for air. It also prevents the film from slipping into a psychological realm that would ultimately prove disappointing.

Why?

Well sometimes life’s complications and the obsessions to which it leads are too murky to actually articulate.

Matty Stanfield, 1.28.2016

 

 

 

 

 

 

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Uh, oh. Trouble is coming from all sides as Ken Russell takes British Film into the 1970’s. Despite on-going demand, Time Warner still refuses to allow us to take a full-on second look back. Britain’s most infamous film actually belongs to a United States based corporation. The Devils Ken Russell, 1971 Cinematography | David Watkin

When one thinks of 1960’s Film Art, the mind does not immediately jump to thoughts of British cinema. Most of us think of France’s La Nouvelle Vague, Germany’s Neuer Deutsche Film, Italy’s NeoRealism film movement, The Japanese New Wave or The Polish New Wave from which Britain did snatch Roman Polanski. Certainly there were groundbreaking British films that caught the spirit of London’s Swinging 60’s Era, but many of these films have aged rather poorly. Just think of Petulia, Morgan!, Darling, Billy Liar or Georgy Girl.  If honest, what really still works about these films is related to a time capsule interest. Many of these British films are quite valid (think A Taste of Honey, This Sporting Life, Room At The Top, A Hard Day’s Night, Seance on a Wet Afternoon, Performance ) but the majority have not held up as well as one might hope.

This is not true across the board. Stanley Kubrick’s British work has only gotten better with time and Michelangelo Antonioni’s visit into Swinging London culture of the time, Blow Up, remains a vital work. However, are these truly British films? It would seem that both of these filmmakers were in a sort of transitionary position. Antonioni was visiting England. Kubrick was still fairly new to British culture.

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The great Julie Christie is The Ideal Woman of 1965’s British satire of Swinging London, but the film barely registers beyond nostalgia now. Darling John Schlesinger, 1965 Cinematography | Kenneth Higgins

Most of the iconic British films of the 1960’s are simply limited to nostalgia. Guy Hamilton, Andy Milligan, Lindsay Anderson, Karel Reisz and Lindsay Shonteff are exceptions but much of what they were trying to convey would soon better estimated by the likes of Alan Parker and most especially Mike Leigh. Ken Loach would not truly find his voice until he entered his 50’s in the 1990’s. There was also a good share of attention to The Angry Young Man of the day. Tony Richardson had moments of brilliance but looking back he seemed to have been challenged by what style of film best suited his voice. Richard Lester certainly left a mark, but here again we are slipping into time capsule pop culture moments.

The British New Wave is also largely obscured by the mega-epics of David Lean’s heavily praised, Lawrence of Arabia and Doctor Zhivago are considered to be a cinematic masterpieces. I’ve never been particularly impressed. To be honest, I’ve never made it through Lawrence of Arabia without falling asleep. Carol Reed’s adaptation of the stage musical, Oliver! was another huge British hit of the 1960’s that pushed pass the more reflexive films of the day.

There were two particularly strong and solitary British Film Artists who were finding new methods of cinematic language. Nicolas Roeg would soon move from the cinematographer chair to that of director and change the face of film editing as it was known. Ken Russell’s work for the BBC and his adaptation of Larry Kramer’s adaptation of DH Lawrence’s Women In Love all stand alone and unique in offering new ways of using film to express ideas and to tell stories. And he really stole the anticipated reigns of the film biography when The Music Lovers slammed onto movie screens across the world in 1970.

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Ken Russell welcomes us to the 1970’s via way of 16h Century France as “the wife” of a Priest makes her way past the destruction of the Roman-Catholic Church… Gemma Jones The Devils Ken Russell, 1971 Cinematography | David Watkin

As British Film headed into the 1970’s some firm and potent voices formed. Certainly Stanley Kubrick’s A Clock Work Orange is a British Film. All American cultural ideas have fallen off his cinematic map. John Schlesinger pretty much left England for America. Ken Russell defied all expectations with his searing and important 1971 film, The Devils. As it turns out Ken Russell, Nicolas Roeg and Stanley Kubrick were not alone. The thing is some of the new British voices got somehow lost in the mix. Barney Platts-Mills’ may have only made one film in the 1960’s, but it is a powerful entry into British Film History. Three other filmmakers also created work not only ahead of the cultural curve — they challenged it and ran their work close to the edge of the rails.

As we stumble forward toward the third decade of the 21st Century, The British Film Institute has gone deep within the corners of their storage closets to re-release a couple of seldom seen motion pictures that capture 1960’s London in whole new ways. Most of these titles were dusted off, restored, re-released within the UK and issued to DVD/Blu-Ray between 2009 and 2011.

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The British Film Festival pulled several legendary but almost forgotten films and re-issued them to DVD/Blu-Ray in 2010 and 2011. These “lost” films of Jack Bond, Jane Arden, Joseph Despins and William Dumaresq teach us that Ken Russell and Stanley Kubrick were not alone in finding new ways to capture stories and ideas for the British Screen.

Two of these four filmmakers were actually Canadian born. Even still, these two ex-pats of Canada artists show no signs of unfamiliarity with the setting of their two crucial films that BFI re-issued several years back for the first time in over 40 years. The other two filmmakers are most certainly British and have cinematic voices which come close to that of Ken Russell and Nicolas Roeg. Like Russell / Roeg, these two British Film Artists were well-versed but often Anti-Intellectual in the way they approached their work. They were far more focused on the visual and the use of film editing. Rebels all, but each were reeling out their rebellion from different core identities. Unlike Ken Russell and Nicolas Roegs’ work of the 1960’s, all four of the other Film Artists will not appeal to a number of people, but it is hard to imagine anyone disputing their importance.

I’m currently exploring the work of a number of British filmmakers who are new to me. I plan on writing more on the art and collaborations of Jane Arden and Jack Bond. The work these two created almost defies terminology, but I’m going to give it my best shot!

But for this post, I want to touch on two films. The first of these two was born out of the mixed theatre and social service ideals of the great Joan Littlewood. “The Mother of Modern Theatre” devoted the second half of her life working with the young people of East London who were lost, without purpose or supervision. These young people were in constant threat of falling prey to all manner of trouble. Her idea was to create a space where these teenagers could be allowed to hang out and “act” out their issues, challenges and ideas. Firmly grounded in the arts but against what she viewed as Elitism of The National Theatre. Her Theatre Royal Stratford East was free of pretension and open to everyone. It was here that Barney Platts-Mills was inspired to scrap together a bit of money to make an amazing little film called Bronco Bullfrog.

Non-actors, Anne Gooding & Del Walker, "play" fictionalized versions of themselves and contemplate their futures. Bronco Bullfrog Barney Platts-Mills, 1969 Cinematography | Adam Barker-Mill

Non-actors, Anne Gooding & Del Walker, “play” fictionalized versions of themselves and contemplate their futures.
Bronco Bullfrog
Barney Platts-Mills, 1969
Cinematography | Adam Barker-Mill

Bronco Bullfrog stars non-actors who had been working with each other under the loose guidance of Joan Littlewood. While the plot is deceptively simple, a great deal of information about the grimness of urban decay, lack of parenting and dystopian boredom come through loud and clear. Glam and style-free, this is a study of teenagers floating along without purpose, direction or hope. Interestingly, it is not all gloom and doom. The characters of Bronco Bullfrog start to find their way as the film heads to conclusion. This is a gem of a film that has never received the praise or attention it deserved. As good as this movie is, it can hardly stand-up when positioned next to Joseph Despins and William Dumaresqs’ ultra-strange and unforgettable twisted little movie, Duffer.

duffer_banner

A good 6 years before anyone had seen the dark surrealism and humor of David Lynch, this low-budget experimental film serves as welcome warning that the art of filmmaking is about to take an innovative, creative and altogether new turn. Kit Gleave as Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

Joseph Despins and William Dumaresq crafted this weird and entertaining movie on a budget so low it is probably best not to state it. The camera work is surprisingly solid. Actually the cinematography is far more than solid, it is artistically sound. Cinematographer, Jorge Guerra, may not have had the best equipment but he most certainly knew how to use it. The shots are often brilliant.

There is no sound. The narration and voices were recorded by a different cast. It only takes a few minutes before it is clear that the lack of sound was not going to be a deficit. In fact, the creative dubbing actually adds to this film in more ways than one. Comical and often horrifying, the dubbed dialogue serves exceptionally as an aide to the film’s surrealism, dark comedy, menace and horror.

"WoManAmal!!!" Duffer's junkie gay keeper heaps on the abuse and chronicles it all for underground porn.  William Dumaresq as "Louis-Jack" Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

“WoManAmal!!!” Duffer’s junkie gay keeper heaps on the abuse and chronicles it all for underground porn.
William Dumaresq as “Louis-Jack”
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

The dubbing actually heightens the discomfort as we watch a young man attempt to reconcile the emotional, physical and sexual abuse of his older junkie boyfriend by engaging in an affair with a female prostitute. Enduring the sort of sadistic torment one seldom sees addressed in film, Despins and Dumaresq were extremely clever in presenting it in very dark comical ways that disturb but never so much that one needs to run for cover. The kind but obviously more than a bit twisted herself, prossie called Your Gracie gives the lost teen some solace while fully utilizing him as a tool.

508

Erna May as “Your Gracie” is using Kit Gleave’s “Duffer,” but he hopes she is saving his masculinity… Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

As the KINK/BDSM with his male keeper becomes more severe and his trysts with his female lover decrease — Duffer is pulled into his male lover’s Horse addiction and begins to suffer one of the most bizarre psychosomatic delusions I’ve ever seen. The poor kid’s delusions continue to morph into what appears to be a psychotic break. This twisted, funny, unsettling and fascinating experimental film deals with almost every aspect of human cruelty and horror imaginable. And just to amp up Duffer’s already potent cinematic stew, we gradually begin to suspect that our protagonist may not be the most reliable narrator.

Just a bi-sexual boy walking through 1970 Notting Hill either on his way from or toward abuse at the hands of older suitors.  Kit Gleave in his only film role... Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

Just a bi-sexual boy walking through 1970 Notting Hill either on his way from or toward abuse at the hands of older suitors.
Kit Gleave in his only film role…
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

As the film unspools more perversities and jaw-drop moments at break-neck speed, we are constantly given an exceptional examination of 1970’s Notting Hill. You may think you’ve seen urban decay and dystopian-like settings, but Duffer presents an England few of us have seen. Filmed on location and on the very cheap, this is perplexing and truly extraordinary view of the state of things circa 1969-1970. I realize that some of you will be annoyed that I’m grouping this film into the 1960’s British New Wave, but Duffer is clearly set in the 1960’s. This is not the 1970’s.

The film begins with Duffer sitting alone by the water. A pretty young woman pauses as she crosses a bridge far above the handsome boy. As the film whirls to conclusion we find him once again in the same place. It is impossible to not ponder where the film’s reality begins or ends. In fact, there is a distinct possibility that none of it is real. However there are just as many clues that all of what see presented has happened in reality. I’m not dropping a spoiler here, the viewer begins to distrust poor Duffer almost immediately. This is a narrator we are unable to trust. But the most jarring aspect of this film is that it presents itself solidly within the Surrealist Context.

All alone in his thoughts... Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

All alone in his thoughts…
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

It is important to note that as much as I praise Duffer, it is not for all tastes. While never truly graphic, it is most definitely profane and very perverse. The humor is so dark that many will feel guilty laughing. This is one demented movie. It also features a deeply strange musical score from the composer who gave the world the 1960’s Broadway smash, Hair. Galt McDermot’s score plays like something you would hear in an alternate universe Tin Pan Alley. Just when you think you will only be hearing a piano — a quickly use of electronics starts to grind forward.

"Mind how you go..." No where in Notting Hill is safe! Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

“Mind how you go…” No where in Notting Hill is safe!
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

Duffer screams out for repeated viewings to understand, to ensure that what you think you’ve just seen was actually shown and for the simple fact that this movie is endlessly entertaining. And trust me, this movie gets under your skin. Once it slips under, it stays there. In addition, something about Duffer seems to be signaling the audience to watch out for David Lynch. Were it not so very British, it could easily be mistaken for something a young David Lynch might have created. Unique, innovative, disturbing, haunting, funny and altogether original, Duffer is a must see lost British Cinematic Treasure.

Well there is nothing quite like watching your lover's home movies abusing you... Kit Gleave watches what we can only guess hurt a great deal. Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

Well there is nothing quite like watching your lover’s home movies abusing you…
Kit Gleave watches what we can only guess hurt a great deal.
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

 

I honestly found no flaw in Duffer.

Just pulled back into darkness after being "fixed" for activities best kept there... Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

Just pulled back into darkness after being “fixed” for activities best kept there…
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

I loved this film, but the work of both Jane Arden and Jack Bond really blew me away. Blown out the window and lying on the pavement outside our San Francisco home, the collaborations of Arden and Bond require more than a little thought and meditation. I’m still letting their three films digest, but I’ll be writing about them soon.

Pushing Feminist Agenda, Drug Experimentation, Examination and Destruction of an identity born of societal and cultural domination, Jane Arden & Jack Bond pull us into the dangerous threat of absolute madness... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Pushing Feminist Agenda, Drug Experimentation, Examination and Destruction of an identity born of societal and cultural domination, Jane Arden & Jack Bond pull us into the dangerous threat of absolute madness…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Matty Stanfield, 12.23.2015

 

By 1995 Communist Poland was long gone. The state no longer restricted the artist or oppressed it’s people. Capitalism was to be embraced. Along with this sudden shift in economy and freedom came many challenges. For the Film Artist, there seemed to be a freedom. A cinema without restriction.

In reality, the entire Polish infrastructure was unstable. The state no longer funded the arts. Film had to be funded privately. However, there was no real film studio or film producers wiling to fund much beyond silly comedies, biographies and other projects that criticized the former Communist regime. When Andrzej Zulawski returned to Poland to film Szamanka (She-Shaman), he had to secure funding from France and Switzerland in order to bring his vision to the screen.

Szamanka Andrzej Zulawski, 1996 Art | Jean-Philippe Guigou

Szamanka
Andrzej Zulawski, 1996
Art | Jean-Philippe Guigou

Those of you reading this most likely know who Andrzej Zulawski is, but despite his genius and success he remains a largely marginalized film artist. Best known and accepted in France, he obtained some degree of success there. In the US and the UK he is best known for leading Isabelle Adjani and Sam Neil into the dark, disturbing, twisted and innovative cult film, Possession. If that controversial and infamous 1981 film is his most personal work, where does that place Szamanka?

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

This might be one of his more philosophical films, but it is unquestionably his most sexually obsessed film. Looking at the movie from a strictly surface perspective (a mistake when it comes to the films of Andrzej Zulawski) this could be interpreted as a frantically impulsive sexual relationship between a wounded and angry Anthropologist and a clearly disturbed young woman. A sort of demented take on the battle of the sexes. However, this is far too simplistic a way to watch or understand this erotic film that hinges on apocalyptic horror.

Passion, love, madness or taming evil?  Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Passion, love, madness or taming evil?
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

If you’ve not heard of Szamanka or seen it, it is likely due to the fact that upon its release it faced an incredible amount of rage from the Polish Catholic Church. Censorship by the State of Poland may have ended, but a new form of repression had sprung up in the form of Post-Communist Catholic Poland. This tale derived from the ideas of Polish writer, Stanislaw Przybyszewski and his controversial coining of the phrase, Naked Soul and Zulawskis’s desire to wake up the Polish masses with his own sort of “Santanic Antidote” to his two contemporaries of Polish Cinema. While both Kieslowski Krzysztof and Zanussi Krzysztof were both brilliant filmmakers, from the ideology of Zulawski were playing into some spiritual idea to which he took exception.

Who is the Sadist? Who is the Masochist? Or, is this demonic possession?  Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Who is the Sadist? Who is the Masochist? Or, is this demonic possession?
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Filled with contradictory ideas around Catholicism, good, evil, sexuality and love this film faced a whole new level of censorship that Zulawski had never faced. Communist Rule was tough, but the unbridled adherence of Religion truly knows no bounds. The film is so graphic sexually that it probably would have been banned anyway, but the controversial ideas of this philosophical, mystical and erotic journey remain blasphemous. The Polish community almost immediately began to call this film The Last Tango in Warsaw. Even though they had not seen it, this was and remains the oft-mentioned joke about Szamanka.

The film has been compared to Lars von Trier’s controversial, Antichrist, in that it depicts a male who suffers the wrath and sexual rage of his female wife. Antichrist plays with ideas around cultural misogyny and grief in equal measure. Like Lars von Trier, Zulawski has been accused of misogyny. The problem with this accusation is that it doesn’t hold up when one watches Szamanka with some knowledge of where it’s maker is coming from and where the film ultimately takes us. It is also important to note that the screenplay was written by Manuela Gretkowska, a young Feminist and acclaimed writer who played a key role in founding The Polish Women’s Party. Certainly Andrzej Zulawski pushes forward his own agenda, but he never veered far from Gretkowska’s script.

Rumors that this was real and not simulated sex has earned the film the nickname of "The Last Tango in Warsaw" Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Rumors that this was real and not simulated sex has earned the film the nickname of “The Last Tango in Warsaw”
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Boguslaw Linda was an established Polish movie star when he was cast as Michal, the unhappy and profoundly conflicted anthropologist who has just come into the job of investigating the rarest of anthropological finds. There are more than a few stories about the casting of the female lead. Zulawski was not known to work with “unknowns” or “untrained” actors, but something about Iwona Petry’s beauty and presence deeply fascinated Zulawski. She was just barely twenty years of age when he saw her ordering a cup of coffee. Described as a bit eccentric and a strict vegetarian, Zulawski convinced her that she was meant to be his star and to play the role of Wloszka / The Italian.

An unforgettable cinematic presence and debut which would be her final turn in front of film cameras. Iwona Petry as Wloszka AKA "The Italian" Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

An unforgettable cinematic presence and debut which would be her final turn in front of film cameras.
Iwona Petry as Wloszka AKA “The Italian”
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

While Szamanka was a huge critical and commercial failure in Poland — largely because the Polish Catholic Church. Honestly, the film was never even given a chance to screen much at all due to protests and the ultimate banning of the film. However the film scored incredibly well in Italy and France. It was expected that Petry would be a major and perhaps first true Polish female movie star. She didn’t. In fact she has become a huge part of this movie’s infamy. During production the Polish media had a frenzy in reporting that Zulawski was manipulating, forcing and abusing the young woman. Rumors ranged from beatings to forced sex to psychological torture.

Looking back at the situation, it would seem that Zulawski’s dark sense of humor had some fun playing with what were clearly rumors. When the film finally screened to great acclaim at the 1996 Venice Film Festival, Zulawski answered the charges with his typical blunt intellect. There was no truth to any of it. Yet another ploy to set the film up by the oppressive Polish Catholic Church.

Religious symbology and Mysticism loom constantly around these two rage-filled lovers. Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Religious symbology and Mysticism loom constantly around these two rage-filled lovers.
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

However, Iwona Petry failed to show up for the premiere. She actually went missing for a short while. Apparently exhausted from the tough shoot and terrified by the media attention she took her money and ran off to India. In 1998 she gave a few interviews and admitted that the sudden brush with fame was far more than she had bargained. A roll of eyes to the rumors that continue in Poland to present day. She returned to university and is now a published fiction writer. She has no interest in returning to the world of acting.

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

This is a shame as her performance in the film is quite impressive. Iwona Petry had the presence of a movie star and she played the role of the She-Shamen with an almost insane level of erotic energy. One hardly has time to notice the well-trained middle-aged Boguslaw Linda. When Petry is on screen, it is she you watch. And, no. She is not nude the entire time. It is an interesting and terrifying performance. Once you see this odd film, you will never forget her.

Most importantly, you will never forget Szamanka.

The anthropological find of a lifetime: a nude mummified Shaman  covered in mystical tattoos and a pouch of ancient hallucinogenic mushrooms Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

The anthropological find of a lifetime: a nude mummified Shaman covered in mystical tattoos and a pouch of ancient hallucinogenic mushrooms
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Boguslaw Linda’s Michal is a frustrated scientist about to marry a woman for whom he feels no love or passion. During an unseen excavation with his students, a mummy is discovered. It is determined that this mummy is close to 2,000 years old. Michal’s interest in this mummy goes far beyond the academic or scientific when he discovers this is the body of a Shaman.

Touching, connecting and trying to merge with God Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Touching, connecting and trying to merge with God
Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

The body is incredibly well preserved. Covered in mystical tattoos, they also find a pouch full of what turns out to be  hallucinogenic mushrooms. While Michal and his team try desperately to understand the cause of the Shaman’s death, there is only one clue: the back of the Shaman’s skull is crushed. This does not signal the cause of death but an ancient pagan ritual in which after death, the Shaman’s skull is opened to release the potent spirit free.

Andrzej Jaroszewicz’s camera seems to be drawn to offering us views of the Shaman’s rather pronounced penis. And Michal is unable to hold back. He breaks protocol and touches the Shaman with his bare hands. Clearly there is a sense of connection for Michal, but the reason for this is not entirely clear to us or him. It is as if he wants to find a way to truly connect with this ancient dead being. This need verges toward the sexual.

What secrets and powers are hidden in the Shaman mummy?  Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

What secrets and powers are hidden in the Shaman mummy?
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

The Anthropologist and his mummy are a a constant subplot of the film. The main interest is on the strange young woman who captures the lustful attentions of the scientist almost as strongly as the mystical-pull of the Shaman. A rude and socially inept, but beautiful woman. We first see Petry’s The Italian as she lunges and plunges her way along a buffet of food which she shovels into her mouth and down her throat as if her hunger can never be satisfied.

Erotic desire beyond reason... Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Erotic desire beyond reason…
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

She is to rent an apartment owned by Michal. The modest flat was formerly occupied by his brother. The Italian wants the apartment. The deal is done, but signed with a frantic and brutal sort of sex that feels as angry as lust-driven. Like the mummy, Michal seems to want to somehow merge more into this beautiful girl than sexual penetration will allow. And like with her food, The Italian’s erotic desire seems to be unhinged and impossible to satisfy.

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Between the ever-mounting frenzied levels of brute force, kink, domination, submission, pain and pleasure, Michal attempts to communicate with this woman of his sexual dreams. She, however, seems more concerned with her consuming passion and seeks more to “commune” than communicate. She is obsessed with him and seems to ache to form a possession of his desires. Not articulate, but psychical in her nature.

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Michal is becoming more and more obsessed with her. He attempts to discuss philosophy with her but to not ready interest. He discusses religion with disdain. Here she seems a bit more interested, but it always comes down to sex. Our Anthropologist suspects his fever-pitched lover might be no more than a beautiful idiot. The Italian seems unable to offer him nothing more than hot sex. He wants more.

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

You see, that’s why there are common saints, just God’s morons with a soul. No brains.

This sort of comment seems to cause a pulse within the ever-sexually-rabid woman. And as hard as Michal seems to want to walk away from her, he simply can’t. She mystifies him. Occupies his thoughts. Drives him to rage-fueled sexual encounters. The sex becomes desperate. Yet for her, the sex is almost magical. A sort of erotic ritual.

Michal watches his sleeping lover. Or is she something less or more? Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Michal watches his sleeping lover. Or is she something less or more?
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

He finds himself more miserable with her than he had been with his loveless marriage potential. The mummy no longer holds the power over him. This crude, intolerant, polymorphously perverse, tyrannical and hysterical woman seems to offer an inexplicable power over him.

This is not just unrestrained passion, this is something sinister.

Or is it possibly something that offers our Anthropologist a meaning to his existentially challenged existence. He no longer fits in. Poland offers opportunity, but it seems a false promise. His mummy holds no answers. But there seems to be something bleakly powerful in these cruel sexual encounters. The Italian becomes transformed. Already beautiful, during sex she seems to become transformed to the level of sexual goddess. But the orgasm appears to be more like gasoline tossed on some spiritual fire.

There is no pay off or hope in this sex.

Defile. Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Defile.
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

And as this deeply odd but impossibly fascinating Art House film pulls us deep into this mire of confusion, identity crisis, sexual obsessions, perversions and religious conflict. It is also as the film enters it’s third and final act that Zulawski and Manuela Gretkowska push us into the dark theatrical thinking of Stanislaw Przybyszewski and his outright Satanic symbolism.

For Przybyszewski there is no such thing as “love,” it is nothing but a magical illusion. When Michal meets The Italian he his helpless. There can be no free will here. Michal cannot turn away from his She-Shamen even when he seems to realize this girl’s insanity is something of a mystical and most-likely demonic nature. He is rendered to the state of the somnambulistic when it comes to this darkly magik lover who seems to have access to fully influence him to the very core of his being. This “love” is truly apocalyptic. It does not seem to matter if the She-Shaman influences for good or evil. If her ritualistic sex is served for healing or wounding. For Michal has no choice in the matter.

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

And, here is the clear separation from the Nihilistic turn of Lars von Trier’s Antichrist. Unlike the husband in that film, Michal is not meeting a mere symbol of angry female energy oppressed by centuries of human cruelty, Michal has fallen prey to a demonic sort of force. He is nothing more than a sort of life-force for the She-Shaman. He is one of those common saints. He has been deceived. His nothing more than brains for the She-Shaman‘s food.

As Stanislaw Przybyszewski might have appraised it, for this man survival is not an option. He must submit to the illusion and power of love. In a strange way, this intellectual is taking part in a consensual murder. In this odd bit of socially conscious cinema, everything is fucked.

God, Faith, Spirituality, and Hope looks down... Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

God, Faith, Spirituality, and Hope looks down…
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Without love. Without hope. Szamanka must be satisfied.

Even to write about this true cinematic anomaly makes one feel a little loopy. By the time Andrzej Zulawski’s grim film comes to it’s conclusion the viewer is left spent and more than a little dazed.

The folks at Mondo Vision have done an outstanding job at restoring this deeply weird but exceptional film. Sadly, there are no plans to issue it to VOD or Blu-Ray format. It is only available from them on region free DVD. But they have loaded it with extras. If you’ve an interest in Eastern European cinema or the work of Andrzej Zulawski, you really can’t afford to miss it.

You can find it, and several of Zulawski’s titles here: http://www.mondo-vision.com/szamanka.php

Matty Stanfield, 9.15.2015

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

God, Faith, Spirituality, and Hope looks down... Szamanka Andrzej Zulawski, 1996 Cinematography | Andrzej Jaroszewicz

God, Faith, Spirituality, and Hope looks down…
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz