Rozstanie

My fourth and fifth Has films were quite remarkable and it started with this, an elegant and reflective parable of time. The film starts as Magdalena reaches her grandfather's house for his funeral, a place she left many years back, a place from her youth. As she tries to relate the place to her imagination, she finds that the people have changed, realities no more correspond to her memories, and it is hard to return after leaving your roots. Coming from an urban life, Magdalena finds it hard to be comfortable under the constant attention. A cold war slowly develops around her, as people play games to satisfy their own goals. Meanwhile, Magdalena finds herself attracted to a handsome and carefree youth whom she had met on the train even as her relatives try to get her married to a boy of their choice. Misunderstandings slowly develop, and the conclusion is an understated masterwork. Has uses B&W to great effect as usual, the majestic house aiding him to create an antique atmosphere that invokes melancholy. But here, I was impressed with the content more than the technique, how perfectly Has manages to say a lot without actually saying it, in the way capturing the real pathos of farewells. Yes, the film justifies its name 'Partings' without a doubt, as Has beautifully rolls up various levels and forms of goodbyes in this mellow episode – leaving a house, leaving one's childhood, a man leaving a woman, a woman leaving a man, and last, but not the least, a train leaving a station. Drenching experience

I must confess to being surprised that this splendid little film has until now only received one review, albeit one that is both excellent and appreciative.

Wojciech Has, after directing documentaries, found success with his first feature 'The Noose' in 1958 and went from strength to strength. It is generally agreed that his best film is 'The Saragossa Manuscript', especially since its 'rediscovery' by Messrs. Scorsese and Coppola but despite its epic, picaresque and erotic nature I personally find its three hour running time rather tiresome.

There is no time to become bored with the much shorter 'Rozstanie' as it is a tightly knit, well-constructed 'chamber piece' which seems to fly by despite its measured pace.

Magdalena, returning to the family home for the burial of her grandfather, is played superlatively by Lidia Wysocka, an accomplished and highly respected actress and by all accounts a courageous woman. Her best scenes are those with the Novek of Wladyslaw Kowalski which reminded me very much of those between the woman 'entre deux ages' and the young man in 'Le Blé en Herbe' of 1954.

There is a varied assortment of colourful characters here and the Count chasing the cook's flirtatious niece would not be out of place in a film of Ingmar Bergman.

It is a tender, nostalgic and beautifully observed little gem with a great cast, a delightful score by Likjan Kaszycki and oodles of atmosphere courtesy of the cinematograthy of Stefan Matyjaszierwicz.

To Magdalena the places and people she knew seem unfamiliar to her which serves as a poignant reminder that the one 'constant' in Life is 'change'.