Mother Joan Of The Angels (1961)

"Maybe there are no demons. It's only a lack of angels."

France, in the 17^th century, witnessed one of the worst atrocities perpetrated by humankind. A popular and openly libertine priest, Father Urbain Grandier of Loudun, known for his philandering ways, was accused of witchcraft and commerce with the Devil. A group of Ursuline nuns, led by the Mother Superior, Jeanne of the Angels, claimed to have been possessed by demons, owing to being seduced and corrupted by Grandier, who was ultimately convicted, tortured and burned alive at the stake. Legend has it that the whole incident was purportedly an organized witch-hunt, to oust the unorthodox priest, with Mother Jeanne's personal grudge against Grandier and an irrefutable evidence of possession, providing a strong advantage.

This story has been the subject of various literary works and plays, also adapted by English filmmaker Ken Russell in his controversial masterpiece, "The Devils" (1971). Polish filmmaker Jerzy Kawalerowicz's "Mother Joan Of The Angels" (1961), although released ten years earlier, is somewhat of a quasi-sequel to Russell's film. Albeit with character names slightly altered, Kawalerowicz's film is loosely based on events following Grandier's execution.

The nuns at the notorious convent are still supposedly under the influence of the demons, exhibiting hysterical traits, and spitting blasphemous ramblings. With exorcisms already in progress, although with little success, another priest, a specialist, Father Józef Suryn (Mieczyslaw Voit) is called upon to take up the challenging task. Following interactions with the curious local folk, including patrons of a nearby inn, the nuns, and more importantly, a startling face-off with Mother Joan (Lucyna Winnicka), Father Suryn finds himself grappling with his own faith, conflicted by the questionable veracity of Mother Joan's claims, and tormented by his own undeniable attraction to Mother Joan.

Despite directly following the events in Russell's film, "Mother Joan Of The Angels" is a far subtler version in contrast to "The Devils". While the brazen, scandalous depiction of the madness and hysteria of Russell's film is missing here, Kawalerowicz's fairly restrained approach renders a darker and more meditative tone to the proceedings, and what results is a film with a distinctively bleak, tense atmosphere, and aptly so. It is akin to an eerie calm following a deadly storm, with its desolate surroundings and the burnt remains of a carnage serving as horrific reminders of a black chapter in the history of the town; its baffled inhabitants haunted by the ghosts of a terrible episode, still questioning the truth about what really happened.

Without being too unabashed about it, Kawalerowicz manages to shrewdly attack and expose the hypocrisy of organized religion with masterful writing of scenes, comprising of philosophical musings, riveting confrontations and intelligently composed, symbolically heavy imagery. Meticulously in control, and not swaying towards preachiness, Kawalerowicz offers plenty to chew on about the tenets of orthodox religious practices.

Having very human, amorous feelings of desire and carnal needs is a sin, and a work of the devil, they say. So is it that, in a way, God created the Devil, for apparently it is His teachings that direct followers to repress their natural desires? What sort of a religion asks a human to stop being human? Some individuals devoting themselves to serve God are disallowed from having simple human, sensual feelings, and if they do, they are said to be possessed by an evil force!

And what about the unspeakable evil unleashed upon the priest who was burned, by these servants of God? A close look at the circumstances leading to the Loudun possessions do reveal that the priest was burned at the stake as a result of insane jealousy of one woman, an evil that was born out of repressed, unrequited desire, perhaps.

One of the film's highlights is a powerful conversation between Father Suryn and a Rabbi, also played by Mieczyslaw Voit, symbolically incorporating the theme of duality, perhaps hinting at the ambivalence of religious teachings and at the same time conveying that essentially all religion is the same and yet at conflict within or with each other. A near delirious Suryn addressing himself in the mirror, believing to have been possessed, also hints at the two-faced nature of man-made religion. It is interesting that the first frame of the film shows Father Suryn lying face down on the ground and filmed in an angle that makes his profile resemble an inverted cross.

With the theme of demonic possessions and exorcism, the horror quotient is not far behind and the sequences of the ritual are terrifying to say the least. But the first meeting between Mother Joan and Father Suryn almost rivals it in that department and ends with a chilling note while still retaining the ambiguity surrounding the existence of a supernatural force.

The performances are superlative. Mieczyslaw Voit portrays his crisis of faith and self-doubt with an earnestness that rivals Gunnar Björnstrand's performance in Bergman's masterpiece, "Winter Light" (1963). Lucyna Winnicka embodies Mother Joan with an impeccably versatile performance, although for someone who has seen Vanessa Redgrave's mind-blowing freaky hunch-back act in "The Devils", this reviewer finds himself preferring that by a significant margin.

A recurring motif in the film is of the ringing church bells, for those who are lost on their journeys. Beyond the literal purpose of the bell is some potent symbolism that comes alive in the very final shot of the film, with the close-up of the ringing bell against the sound of Mother Joan and spurned Sister Malgorzata (Anna Ciepielewska) sobbing together. This haunting audiovisual juxtaposition speaks volumes of how these poor souls feel lost in their respective emotional journeys and misfortunes, brought about by the beliefs they embraced and eventually imposed upon them in the ruthless world of organized religion in a male-dominated, Godless universe.

Score: 9/10

Kanal (1957)

Films depicting the horrors of war are aplenty. Some take us right into the battlefield and make us witness the rigours faced by the soldiers in battle. Then there are others that focus on the plight of civilians during an ongoing war. There are also a few others that paint a disturbing picture of the aftermath of war, and its effects on both, the soldiers as well as the civilians. Many of these films either showcase only the carnage with liberal doses of violence, keeping the characters at a good distance, or make us feel at home with the characters, intermittently shifting focus to the killing and mayhem.

Polish filmmaker Andrzej Wajda accomplishes a rare feat with a film that clocks to only about 95 minutes. He gives us a fully fleshed out product that not only makes us well acquainted with its ensemble of characters as individually recognizable and relatable people, but also takes us right in the middle of all the pandemonium, making us feel the bombs, the guns, the madness and in this case, waist-deep grime of a sewer!

The year is 1944, and the Warsaw uprising is nearing its end. A small company of 43 surviving members of the Home Army resistance fighters comprising of soldiers as well as civilians led by Lt. Zadra (Wienczyslaw Glinski) find a new position in the remains of a half destroyed bourgeois house in an abandoned territory. The German army is on the warpath, capturing most of the land and marching on ahead, bombing and evacuating almost all Polish territories. The company has an eclectic bunch of fighters, males and females of different age groups and aspirations. Some act as messengers and helpers, others as the fighting frontmen, and they even have the wide-eyed passionate music composer Michal (Vladek Sheybal) among them.

"Kanal" tells the harrowing tale of the struggle of these brave people, to survive the brutal onslaught of the Nazis, especially of their last-ditch attempt to retreat downtown, through long underground sewers when they are surrounded and all hope seems lost. Only the task isn't going to be an easy one, as it becomes clear once the wading through the muck commences.

Wajda wastes no time and takes us right into the action, by announcing that what would follow is the chronicling of the final hours of this company of the resistance members. He keeps it compact and fleeting but never once does anything feel inadequate in Jerzy Stefan Stawiński's screenplay that covers practically all the facets and sentiments associated with a situation such as this. It is a chilling moment when an already desensitized Michal makes that final call to his house in the nick of time before we hear his wife say that the Germans are coming to get them and the line gets disconnected. Some others steal amorous moments and have a little party before the imminent doom.

It is heartening to see that almost all of them are ready and know that they may die soon, and yet, find some light moments to laugh about in the face of adversity, just as the music composer finds a piano and starts smashing some tunes to ease the moment. It isn't long before we find ourselves in the midst of smouldering rubble as the attack catches the party unawares when some of them are catching up on some rest and others trying hard to find a drop of water to shave!

The journey through the sewers is the toughest ordeal the company has to go through. Apart from plodding through endlessly long stretches of human waste, they have to save themselves from the surprise attack of poisonous gas released by the Germans in the sewers to either kill the escapees or bring them out of hiding! The script at this juncture is dripping with pure genius, as Wajda and Stawiński add some clever humour in small doses that accentuates the fearlessness of the group. Take for instance the scene when Michal the composer just commences what could be his final journey through the sewers and exclaims how amazing the acoustics were, down there! There's a good dose of such fleeting gallows humour in the face of certain death in the form of crackling dialog, enough to garner applause for the inspiring bravado on display.

Such elements in a film sometimes attract criticism for being unrealistic, but considering that the script has been helmed by a man who was himself part of a resistance operation and survived in the sewers, his credibility can hardly be doubted. Much like the initial display of courage is entirely believable, so is the gradual draining of enthusiasm. As the gas fumes begin to destroy the troops in body and spirit, their hopes begin to dwindle and so does their frame of mind. Differing mindsets and conflicting opinions regarding the code of honour and general ethics result in deception and animosity. It is an accurate depiction of fear, madness and a decline of morals.

While the writing shimmers with intelligence and well-timed twists, Wajda's visual portrayal of it shines in the darkness, literally! The first half gives us a tour of the dusty ruins on the exterior, and the entire second half practically takes place in the dark sewers. It gives the director ample opportunity to show off some fine chiaroscuro lighting effects and an effectively eerie use of shadows. The underground passage is unknown to most, much like their fate. The surprise gas attack adds to the chaos. Wajda taps this setting extremely well to create a hellish, surreal atmosphere; a seemingly endless, Kafkaesque tunnel of no escape. The resulting sense of confusion and hysteria that prevails, is aptly demonstrated by the filmmaker. He owes a lot to his actors as well, who seem to lose themselves in their characters, making you feel their predicament.

"Kanal" is a tragic, disturbing masterpiece of Polish cinema, one that is so powerful that you might feel the need to play something cheerful post the film to lighten up the mood.


Score: 10/10

Interrogation (Przesluchanie) (1989)

Ryszard Bugajski's controversial but powerful prison drama, "Interrogation", although completed in 1982, got its first theatrical release in Poland in 1989 and then in the 1990 Cannes Film Festival. With its blatant anti-communist themes, in a story set in the early 50s during the latter years of the Stalin era, it was not surprisingly banned for almost 8 years by the then communist Polish government. Prior to the official release though, Bugajski himself struggled to get the film across to the public, even going to the extent of secretly helping out in leaking illegal VHS copies of the film! How ironic then, that the philosophy Bugajski followed in his actions to save the film reflect those of the brave and resilient lead character of his film. Tonia (Krystyna Janda) believes, from experience, that sometimes in life, it is better to just follow one's whim rather than follow the rational path. Sensibility and obedience are not always rewarded!

Tonia is a cabaret singer in the post WW-II era, during the final years of Stalin. Following a successful stage show, she gets completely drunk with two guys and when she wakes up the next morning, she finds herself in jail, taken as a political prisoner! Thrown amidst a sea of women, Tonia is clueless of her offense and reason behind the arrest! After a few days of trying to get in touch with the authorities to demand an explanation, she is finally allowed to meet with  Major Zawada (Janusz Gajos) who simply picks up on one of her joking remarks and starts making frivolous accusations, even those that have only to do with her personal life. It just so happens that Tonia is a party animal, loves to get drunk, and has had several one-night stands!

Flummoxed as to why her personal life should be an issue to the authorities, Tonia spends several days, months, years in prison and finds that no explanation is good enough, and the government is hell-bent on charging her anyway, by blowing some trivial affairs out of proportion and politicizing them, or simply by pinning false charges, no matter how much she claims her innocence!

"Interrogation" then unfolds in its gritty realism and chronicles one woman's struggle to survive in the troubled, grim prison world. While fellow cellmate women relent and give in to the demands of the authorities to sign false confessions admitting that they are spies and traitors, Tonia holds her own and refuses to sign any document. Bugajski doesn't sugarcoat anything. What is seen on screen is far from pleasant. Tonia is stripped, beaten, humiliated and subjected to other forms of torture. There is nary a sign of hope, but only despair. The claustrophobic prison environment is further enhanced by the too close for comfort close-ups of characters as their faces occupy the entire frame, and shy away from giving us a sense of the surroundings except for the interrogation room, the tiny prison cell and the bath chamber where subjects are tortured with hose pipes and flooding amidst rodents scurrying about, to make them confess. The proceedings are harrowing and intense, and in some cases, difficult to watch.

Bugajski adds some symbolism and shows rats and humans trapped in the same cell. In the bath torture chamber, two rats stay afloat and use a plank of wood in the rising water levels and jump away to their escape, while the human prisoner is still trapped, almost drowning! In another symbolic expression directly reflecting the theme of rising against all odds, a peasant woman in Tonia's cell, makes grains sprout into plants on the muddy window sill by nurturing them with spit and some meager amount of water they get. The plants grow taller amid the closed cell, despite being spat upon, very much like these resilient women, who do their best to keep standing despite being pushed down and patronized!

Bugajski also incorporates the Kubrickian long-hallway shots in several instances throughout, showcasing the prison interiors. A noteworthy aspect of Bugajski's screenwriting is the inherent pessimism depicted in some of the dream sequences. At least on two separate occasions, Tonia passes out and drifts into a dream, the splice between dream and reality being quite unclear, but the former distinguished by a muffled soundtrack that could be a distorted version of one of Tonia's own musical performances. In each of these dreams, Tonia seems to find a means to escape, but the dreams always end with a subconsciously induced roadblock, either due to her own awareness of her situation or by a symbolic manifestation of reaching a dead end, sometimes in the form of the door of her own home that never opens in spite of her relentless knocking!

Despite the gut-punching intensity of the proceedings and a taut screenplay that hooks the viewer, Bugajski introduces some cinematic clichés towards the latter half and also in the form of one major character, Lieutenant Morawski (Adam Ferency in an excellent performance), who appears to be the only prison official with a shred of sentiment in him, while all others are merciless, sadist, one-dimensional beasts who only know how to exercise their power and unleash their atrocities in the cruelest of manners. Morawski, then becomes the sole sympathizer, but it is not clear if it is his inherent awareness of human values and his actions, a result of the helplessness in the face of the government he is employed with, or if it is a result of his falling in love with Tonia!

Krystyna Janda's awe-inspiring performance makes Tonia's predicament all the more believable and it is impossible not to feel her frustration and angst. She delivers with utmost conviction, especially in the scenes towards the end and in one particularly well-written sequence (detailing which may spoil it for the viewer) that is the only scene in the entire film that offers a light moment laced with humour. It is an acting job par excellence, an act one can't easily forget.

"Interrogation" is one of those great films that sadly remained obscure owing to their troubled release history, thanks to the controversy surrounding its subject matter. Nevertheless, it is never too late to reach out for it and spread the word.

Score: 9/10