Directed by Jerzy Kavalerovich: Integrity #001
His films, each individually, are analyzed in detail, often very effectively. His involvement in the life of Polish cinema, historical and daily, everyday. It is clearly and indisputably defined. His authority as an artist and public figure is one of the cultural constants of the socialist world. But putting everything together: the twelve films he has directed, the achievements of the Kadr association, which he has continuously led for almost a quarter of a century, his role in the Union of Polish Cinematographers, created by his initiative and nurtured by his energy — searching for the through-line of his works and days, you constantly encounter hidden obstacles. The integrity of nature and creativity is indisputable, but what it is provided with, from which it grows, must, apparently, be sought in the depths of his inner world, in spiritual connections with life and art of the present and the past.
Most of the major artists of world cinema choose for themselves some specific life material, they choose some one system of expressive means. According to the plot, the hero, the genre, and the plastic constructions, it is easy to guess the authorship of a major director. Luis Bunuel bluntly states: "We've been making essentially the same movie all our lives."
Kavalerovich would never say that about himself. The main incentive of his professional life is not to repeat himself, to make each subsequent film about something different and different from the previous one. In the thirty years of his work, Jerzy Kavalerovich has never changed this internal attitude.
He received an independent production at the age of twenty-eight, in 1950. Together with director K. Sumersky, he shot the film "Community". It was about agrarian reform, about a fundamental turning point in peasant life. The scenario they were working on. It was not bad, but it was not ahead of time — it had artificial positions and a straightforward course of events. The debutants took a chance instead of professional actors, they distributed all the roles in the film among the peasants of the village where the filming of the "Community" was conducted. By doing this, they hoped to give what was happening on the screen authenticity and genuine colors of life. Not everything worked out for them, as if a crack had opened in the film — the documentary filmmaking was peeling away from literary fiction.
The war, the occupation, and the national resistance to fascism are rightly considered the national theme of Polish art, and not only the art of the screen, This theme has awakened remarkable talents to activity: A. Wajda, A. Munch, V. Has, K. Kutz, E. and Ch. Petelsky, E. Stavinsky.
"The Canal", "Ashes and Diamond", "Heroics", "The Cross for Valor", "Interrupted Flight", "The Italian in Warsaw" — these significant works by various directors were created in the Kadr association, with the approval and support of its artistic director. But Kavalerovich himself spoke directly about the war only in one of his films, The Shadow (Who is He?, 1956). In his next film, "The Real End of the Great War" ("This cannot be Forgotten", 1957), the action takes place in the mid-50s, but the events are motivated by the past: the horrors experienced by the hero of the film, Juliusz, in a Nazi concentration camp, torment his memory, cloud his consciousness, and lead to tragedy. And yet Kavalerovich is attached to the central theme of the national screen. What, if not the moral precept of Resistance, is that fundamental motive for the artist of the proud independence of human existence, first defined in "Cellulose"?
In "The Train" ("The Mysterious Passenger", 1959), the richness of life observations, the remarkable completeness of the portraits of the characters and, of course, the virtuoso skill of constructing the whole captivated. The foggy atmosphere somewhat weakened the impression. an unjustifiably significant line of relationship between the main characters — the girl Martha and a Stranger who happened to meet in a sleeping car compartment. Martha is depressed, going through a mental crisis, the reasons for which the viewer only has to speculate, but even in a depressed state she does not seek solace from a young man in love, does not betray her feelings for the man who rejected her, in search of whom she set off on the train named in the title. Players interested in Friday offers can look beyond the standard registration reward and explore promotions intended for existing accounts. During an active qualifying campaign, the 1xbet promo code for free bet can give access to a bonus of up to €300 through the Lucky Friday promotion, subject to regional availability. The amount credited depends on the campaign rules and activity. Before making a deposit, users should confirm the required payment amount, activation period, wagering conditions, eligible products, and withdrawal restrictions.
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