By David Zou
When one makes a subject a vocation or merely an avocation, there is a danger that the individual may start feel that they pretty much know all there is to know about said subject. That danger seems to happen to those who love, study, and work in or with the film world to any great degree.
It’s so easy look to the usual suspects of place and period. What many forget is that the world is still a pretty big place and cinema has been around for more than a century now. Some may concentrate on the films produced in the US, western Europe, and certain industrialized sections of Asia, but great filmmaking can happen anytime and anyplace. The subject of this list is a case in point.
In the early 1990s, word began to circulate in the US and England about an astounding production that had premiered in Poland (at the time better known for the dramatic political upheaval it was undergoing than for artistic achievements) at the very end of the previous decade.
By the standards of the film cultures outside of Poland, this production was considered unusual and problematic in structure, and its director/writer wasn’t well known outside of his homeland (a fact soon to change). It took awhile for such a unique work to find its way into the cinematic mainstream outside of Poland, due in large part to running time and original venue.
However, in the early ‘90s, informed cinephiles began to hear about a remarkable work which had premiered on Polish television and which dealt with the Biblical Ten Commandments as those edicts could, would, and maybe should be applied to modern life.
This may have put some off, fearing an oppressively moralistic treatment of what sounds like sermon fodder. (In fact, just before this effort → continue…
From:: Taste Of Cinema