Sunday, March 13, 2011

London Ontario Community Of Travestis

baptism, dir. Marcin Wrona (2010)

"Baptism" by Marcin Wrona is probably the most extreme Polish film received last year. On the one hand, a very positive assessment soon after the last festival in Gdynia (in annual, monthly Cinema pofestiwalowej same table four, five, one six ...) on the other - emerging with a theatrical premiere of the film strongly negative opinions of the rule of the younger generation of critics, first alleging the film Crows chauvinism and misogyny ... The latter was the easier for me to believe that the earlier film director - "My Blood" I did not like just for the sake of accuracy far from even decency (yes, I felt a sort of time - today I can see it's a little different) treatment of female heroines in question .

And yet, in spite of some expectations, "Baptism" impressed me and I think that even if presented on the occasion of no small brilliance - not entirely correct in law were issued in a few months ago at his residence. In this context, may be the biggest problem, "Baptism" is "My blood" through the "Baptism" was no longer treated as a separate work (statement), but as an invalid another film director, resulting in potentially critical sentence: In "Baptism" feminine heroine is ... gave priority to, the stronger the pronunciation, but also easily leads to misleading generalizations and conclusions, the sentence like this: In films Marcin Wrona female heroines are ... not quite paying attention on the occasion of this detail is that the second film was in this case a variation of history contained in the first, in his history draws pursuant to some - not necessarily invented by Marcin Wrona - a feature pattern of gangster movies, according to which the hero care of his wife and / or child of the deceased friend.

recital last appeared at least in the "Prophet" Audiard: hero - Malik, after the death of his friend (brother ) receive the care of his child and his wife - Djamila, while The latter remained a supporting character has not been characterized in the film in any profound way (this certainly does not mean that in any way, I would like to assimilate good "baptism" with the sensational "Prophet" and the Audiard Wrona, which "The Prophet" is one of the proofs Audiard is an outstanding artist, and at the same time - which in this context is worth noting - the director who started using the convention male movie, can completely redefine it just by the treatment of female characters, or what is understood as women - more on this here ).

In other words, I think that a bit marginal (although this is too much said) to treat a female heroine, "Baptism is not a consequence of chauvinism creative director and his views on women's role in Polish society, but - as in" My Blood " , so that now much better - it is a duplicate of a certain feature a theme relevant to the species.

Going forward, emerging at the critical opinions on the "Baptism" shift the focus from what is written in a pattern, the incorrect work (in Polish backward, backward ) favored, as above - generalization, but often some exaggeration in the presentation of this, as indeed is shown in the "Baptism" woman. Thus, for example, consistently recurring complaint that the film Crows heroine no one asked for his opinion, and therefore none of it did not count, not the end I think it is correct. Because no one here, and indeed ultimately did not ask, but what's Wrona indicates very clearly that is not caused by ignoring the will of women, but the same situation - problematic and ambiguous. Each of the two male protagonists the film is here (at least) one scene, in which attempts to tell the truth (Michael tries in his own way at the end of the movie, but too afraid, a bit later, Jack is trying to persuade a friend to tell her << ... she needs to know >> but also unsuccessfully).

with other examples. When Carol Pasternak in his review of "Baptism" (Film in the October of last year) as evidence of the objectification of the heroine of the movie quotes appearing in an interview with Jack Michael wife's description of this first, I admit not very expansive: Magda is about is hard-working, honest girl , completely failed to mention the fact that these words are later mirrored in his conversation with his wife Michal, during which the first describes his friend (for the same reasons as previously Magda) also detail: Jack is resourceful, a good boy . Nothing more. In addition, earlier citation that appears in the film is not the only Crows opinion, in which the hero is characterized by his wife, is still a bit nicer: She is not a whore ... She is the mother of my child ... It is inviolable and sacred, is my wife.


Overall sympathize with the Polish part of the criticism, which appear next to the silver screen productions native condemns as chauvinist, misogynist, and on the other hand too monumental when it comes to portraying the female characters (most recently alongside films such as crows got the "rubella" Kidawy-Blonski, "Joanna" Falk and "Oh, Charles 2" Weresniak ...). However, from time to time appear on our screens an image, which becomes the victim of that look. This was the case is not appreciated by all the "Garden of Luisa" Wojtyszko four years ago, so it is out of the "Baptism." Significantly, both films are part of a trend of gangster movies (except that in many ways they leave), perhaps the more fosters critical look, you can always find some affinity with (standing with us in a sense the basis of species) Pasikowski movies from the 90's , and their immortal "bad, stupid woman."

Meanwhile, the "Baptism" is in my opinion the most interesting, for now the most successful attempt to move away from low-cost, high-impact standards, which in Polish cinema is still the prevalence gangster. Paradoxically, I think this film is really a lot of the author's sensibility. To bring up the term Tadeusz Sobolewski (but I do not remember where and in what context used) have not watched "Baptism" as a movie for boys dream of power, the estate , but as a film, which is the opposite of this kind of cinema film, which not without a good dose of ambiguity on the road heading in a completely different direction: it is for a renunciation of violence, with wine, about redemption. Appearing in the film Crows biblijne power seem to get interesting especially since they are not - as it often with the film happens Polish Catholicism - reduced to a few pious, kołtuńskich passwords, but they are a living thing - grow out of fiction situations of the characters, with their attitudes. It's not Scorsese - but it moves.


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