John Wick: Chapter 3 - Parabellum
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What a tremendous, passionate adventure! Borowczyk, the master of classy cinematography and backgrounds. Romantic to the core and erotic with the proper level of warmth and satisfaction. Bravo!
Period-drama, Borowczyk-style, om en ung tjej vars besatta kÃ¤rlek leder henne i fÃ¶rÃ¤rvet. En ganska otypisk Boro-rulle, inspelad i Polen istÃ¤llet fÃ¶r Frankrike och med fokus pÃ¥ drama/tragedi istÃ¤llet fÃ¶r snusk (Ã¤ven fast han sÃ¥klart lyckas klÃ¤mma in lite naket av bara farten, annars vore inte hans namn Walerian). Filmen har bra skÃ¥despel, ett ovanligt ambitiÃ¶st manus och ett flertal minnesvÃ¤rda scener/bilder. Filmen kÃ¤nns ocksÃ¥ fÃ¶rvÃ¥nansvÃ¤rt Ã¶steuropeisk (min kÃ¤nsla innan var att Boros filmer skulle se ungefÃ¤r likadana ut var han Ã¤n spelade in dem) - dock rÃ¥der det inte fÃ¶r den skull minsta tvekan om vem som stÃ¥r fÃ¶r regin. Bra film, som dock tar lite tid att komma in i och krÃ¤ver ett koncentrerat tittande.
quite old styled~
Rather quaint film, and mildly frustrating (in the sense that keeps you hooked to the story) as both lovers are further separated by circumstances and geography. Marvelously tragic...
Poland, the nineteenth century. Eva, a teenage girl, takes confession. The priest warns of impure thoughts and giving into lust and sin. Her family take in a young man, Lukash, as a lodger and soon they fall in love. Lukash is married, and since he is unable to acquire a divorce, he and Eva live in sin and Eva is disowned by her family. When Lukash leaves for Rome, Eva falls pregnant. She drowns her newborn child. Count Szczerbic, who wounded Lukash in a duel, tells Eva that Lukash is in prison in Rome, but when she tracks him down, he has been released and deported. Lukash remarries, believing that Eva has began a relationship with Szczerbic. Eva then conspires with two conmen to take revenge on Szczerbic, who Eva believes is responsible for Lukashâs absence in her life. She poisons him as they make love. Eva then becomes a prostitute back in Poland, but is rescued by a kindly gentleman who offers her work. However, the two conmen return, using her to lure Lukash. As she warns Lukash that the conmen intend to kill him, she is shot dead.
The late Polish filmmaker Walerian Borowczyk has two very different reputations. First, he is considered one of the most influential and acclaimed animators of the post-war era, spoken of in similarly reverential tones to the likes of Jan Svankmajer. Second, and most notable, he is considered a director of softcore pornographic films with artistic ambitions. Borowczykâs career perhaps changed forever in 1975, the year he directed âThe Story of Sinâ but also his most notorious film âThe Beastâ. These two films could not be any more different. âThe Story of Sinâ has adult themes and features nudity, but with reason and justification. âThe Beastâ on the other hand aspires to be a Bunuelian satire on class vanity and ambition, but this is a pretty specious definition at best. Its crude simulation of bestiality is more comic than erotic but nevertheless the censors took action. Borowczykâs career sharply declined, culminating in the indignity of making the fifth instalment of the Emmanuelle franchise. Reassessing earlier films such as âThe Story of Sinâ would rehabilitate Borowczykâs reputation; despite being made in the same year as âThe Beastâ, it is a significantly more interesting film.
âThe Story of Sinâ, based on a novel that was banned by the Catholic church (and filmed twice previously) is a tale of a woman who suffers for love much like âMadame Bovaryâ or âAnna Kareninaâ. Eva is, in her own words, âa victim of circumstanceâ, whose love for Lukash, constantly thwarted by both fate and society is the cause of her downfall. Borowczykâs fidelity to the literary tradition is one of the filmâs strengths; making Evaâs rise and fall the central feature of the film rather than the more salacious subject matter. The adult content, involving two lovemaking scenes are never over-elaborated, completely the opposite from the path Borowczyk would later take. His earlier films had the reputation of being filmed through a fetishistâs eye and the early scenes in âThe Story of Sinâ between Eva and Lukash positively crackle with sexual tension. Conversations occur with the focus purely on the eyes though the talk is flirting in nature. Memories blur with real life. Just look at how Borowczyk directs the seemingly casual tossing of items of clothing; hats, gloves, coats with the camera following with great interest. Busts and vases are placed in the centre of the frame. It is a unique and sensual approach to filmmaking, done with great subtlety.
âThe Story of Sinâ also contains a number of satirical barbs, not something that the film is renowned for. Evaâs initial piety, dedicated to avoiding sin and impure thoughts, does not seem to be shared by the other members of her family or local society. Whilst she covers âsinfulâ works of art and books, others cheerfully avoid attending confession. When Eva falls in love with Lukash, she is cast out by her family as a slut and a whore, despite their own lack of piety. Borowczyk hints at the moral corruption at the heart of this society. Eva is exploited and taken advantage of by everyone she meets; no matter how much she searches for Lukash or attempts to create a life for them both together, society moves to prevent it. Conmen use her body as a means of committing murder; her motives to kill Szczerbic are noble of sorts but the conmen seem purely motivated by greed. Exploited and rejected by all, Evaâs fate is sealed. The satirical elements of Borowczykâs work, when subtle and not over the top, remains underrated, obscured by the more sexually frank reputation he has.
Nominated for the Palme DâOr and the only film of his shot in his native Poland, âThe Story of Sinâ is an impressive contrast to âThe Beastâ, the other Borowczyk film of 1975. Unfortunately, not much of his earlier work (or later work for this matter) remains currently available. Certainly one considers that the director has a career of two halves; one half mature and subtle, the other sensationalist and wilfully provocative. Whatever the reasons behind Borowczykâs decline, which mirrors the heroine of this film (both victims of a sexually prudish society?), there is enough here to warrant rediscovery and rehabilitation.
Story revolves around a woman's consuming love that leads to her fatal existence.
Borowczyk's liberally progressed pace works well through the dense storyline. By not over-dramatizing and elaborating on every sequences, the story flows beautifully despite the film's massive time jumps.
What was most successful, to me, was how the shots play with (audience's) translucent knowledge. For example, Eva is seen hugging her father, hands resting near his hip, and the next shot we see Eva's clothes thrown on the floor, hinting a sexual activity. However, a subsequent shot reveals that Eva is just changing clothes in another room; but the question "why is she changing her cloths?" has been established. Another example is when Lukash sees Eva's basque in the room, we are to speculate whether the lingerie affects his decision to rent or not.
What gained from perked curiosity is perceptive alertness, which is, I feel, an important key to interpret Eva's complete loss of dignity as glorified romance (emphasized with the epic end). Being perceptively alert allows us to discern how Eva's "purity" transforms with all kinds of corruption. Love is also corruption, but the only corruption that truly defines Eva's existence and her will to live.
But boy, I wouldn't want to be her.
A classic, yet - in its time - very controversial film in Poland. Based on a novel by the local William Faulkner. For Borowczyk's fans.
great looking fllm. I want to live there! :)