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1

Polskie „westerny”

100%
Bobowski S.
Prace Literackie
|
2018
|
vol. 58
339-348
EN
A few Polish movies are quite peculiar from the point of view of the genre. In their style and construction, they are based on the formula of the western pattern. It is worth pointing out that these films are quite good. There is some evidence that the formula of the Wild West story possesses a some timeless and universal vigor. In my essay I have analyzed Polish westerns such as Ogniomistrz Kaleń by Ewa and Czesław Petelscy (1961), Jerzy Passendorfer’s Zerwany most (1962), Bohdan Poręba’s Droga na zachód (1961), Aleksander Ścibor-Rylski’s Wilcze echa (1968), Edward Skórzewski’s and Jerzy Hoffman’s Prawo i pięść 1964), Waldemar Podgórski’s Południk zero (1970), and the famous picture Róża, by Wojciech Smarzowski (2011). All theseworks display some elements of western staffage, but mostimportantly they contain the genre’s characteristics and its deep structures, that is liminal space (Frontier), uncertain time of chaos, some fundamental values in danger, the passive attitude of society, an anti-hero and, of course, the PROTAGONIST — a lonely, heroic, tragic individual, representing the world of ideals.
2

Indianie i biali w perspektywie pikarejskiej — powieść Mały wielki człowiek Thomasa Bergera

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Bobowski S.
Prace Literackie
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2010
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vol. 50
165-180
EN
The picaresque context of Thomas Berger’s novel is, of course, evident. In my article I refer to a text of an American author concerning this question but, at the same time, I try to specify it as much as I can. I do my best trying to show all the picaresque aspects of the famous literary epic: the adventure structure of plot, specific treatment of space, which is dynamic, changeable and dominating over the whole plot, the panorama of social environments of Indians and Whites in which the protagonist stays alternately, and, first of all, the construction of the protagonist, i.e. Jack Crabb who is a literal picaro, with his plebeian social background, his orphanhood, loneliness, pragmatism, low respect for moral rules, resiliency and others. The important point of my presentation is also the analysis of narration of the novel that is typical for the genre of picaresque — pseudoautobiographical and, of course, first-person narration. Such structure of telling the story causes the functioning of two levels of the fictional world — the level of the external past events and the inner world of feelings and thoughts of the narrator who is also a protagonist. The article contains many examples and quotations from Berger’s novel as the material backing the thesis formulated in it.
3
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Film noir – repetytorium (zamiast wstępu)

100%
Bobowski S.
Studia Filmoznawcze
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2010
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vol. 31
5-20
EN
The author in his article reminds the fundamental facts connected with the phenomenon of film noir. He writes about the moment of discovering it by French critics, about its topics, motives, heroes, style and about esthetical, i.e. literary and filmic, roots of the great stream of the American cinema. He underlies its connection with gangster genre, German expressionism, French poetical realism, and with Orson Welles’s Citizen Kane. As far as literature is concerned, the author points out the strong influence of American hard-boiled literature over film noir. Other welknown cultural and social phenomena linked with film noir reminded by Sławomir Bobowski, are: philosophical existentialism, popularisation of psychoanalysis and – first of all – the specific social situation of America before and after the Second World War, the part of which was, among other things, the new condition of women which made the motif of femme fatale so often present in noir movies.
4
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Tematyka ukraińska w powojennym polskim filmie fabularnym do 1989 roku

100%
Bobowski S.
Studia Filmoznawcze
|
2016
|
vol. 37
151-178
EN
In postwar Poland three films were created that alluded directly to the fights of the Polish Communistic Army against the Ukrainian Uprising Army and the Polish Home Army, which took place in Bieszczady at the end of the Second War and in the following several months. These were: Sergeant Major Kaleń (Ewa and Czesław Petelscy, 1961), The Ruptured Bridge (Jerzy Passendorfer, 1962), Woolves’ Echos (Aleksander Ścibor-Rylski, 1968). They were all made to create the myth of Bieszczady, to achieve a propaganda effect. They also all have a form close to that of the western which was a very popular genre in Poland in the time of their making. This form was to make the realization of the mythologizing and propaganda task easier. In Sergeant Major Kaleń the main topic is a military conflict between some troops of the Polish Communistic Army and Ukrainian insurgents just after the end of the Second World War. The movie was an attempt to show the complicated social-political situation of the period in the south-eastern edge of Poland — in Bieszczady. But it was an attempt strongly ideological and dishonest from the point of view of the historical and political truth. The movie has an interesting protagonist, it depicts quite suggestively some human types from Bieszczady of those times, but it is not just in showing “the Ukrainian question” as well as the Polish Home Army and its brave and tragic “cursed soldiers”. Although it should be pointed out that from the historical-political perspective the film is much more honest than the novel by Jan Gerhard Łuny w Bieszczadach [The Glow in Bieszczady] of which it was an adaptation. The Ukrainians and the soldiers of the Polish Home Army in the film by the Petelskis are cruel and ruthless, and only the soldiers of the Communist Polish army are good and honest people. The Ruptured Bridge is also an image touching upon the matter of Polish-Ukrainian struggles just before the end of the Second World War and shortly after that, but it is mainly a splendid film of adventure with some distinctive features of western and criminal-spy-sensational genre. It was based on the short story Śniegi płyną (The Snows Are Flowing) by Roman Bratny. This is a really good movie that is not as strongly soaked with communistic propaganda as the previous one that does not show the soldiers of UPA (Ukrainian Uprising Army) as monsters. It is rather universal in its message its epicenter is the beautiful — brave and heroic — attitude of a shire officer who is also an engineer. Similarly to Sergearnt Major Kaleń the literary prototype was much more historically and politically dishonest than its screen adaptation. In Bratny’s short story visible are some postcolonial accents. The Ukrainians are showed as a society culturally retarded, primitive, wild, while Passendorfer’s film seems to suggest that this possible cultural latency of Ukraine was caused by the historical faults of Russia and Poland that in the past had treated Ukraine as their colony. Besides Passendorfer shows this “wildness” of the Ukrainian soldiers in some romantic aura of “Ruthenian falcons”. In turn, Woolves’ Echos is an unpretentious adventure film, lacking political-historical ambitions, successfully shot from its beginning to an end in a western convention. The plot takes place in Bieszczady, a few years after the Second World War. When we measure the gravity of problems separating Poles and Ukrainians after WWII, problems which had never been solved or explored in the Polish People’s Republic, then Woolves’ Echos appears to be compromising for the director, producers and for the Polish People’s Republic’s film authorities of those times. Tadeusz Lubelski once wrote: “The authors [of the movie] did not see to any authentication of the complicated story matters, the most important of which was the real conflict on the Polish-Ukrainian frontier”. Two more movies with clear Ukrainian motives were made in the later years of film development in the Polish People’s Republic. Mr. Wołodyjowski (Jerzy Hoffman, 1969) and Mazepa (Gustaw Holoubek, 1975). The first one was an adaptation of a novel with the same title, written by Henryk Sienkiewicz. The second movie was a film adaptation of a romantic drama written by Juliusz Słowacki also with the same title. In Sienkiewicz’s novel, the last volume in his trilogy which is very significant for the shape of cultural and historical relations between Poles and Ukrainians, we can find a few very pro-Ukrainian-and-Polish motives (e.g. a widely depicted beautiful story of a difficult Polish-Ukrainian relation between Muszalski and Dydiuk — from consuming hatred up to fervent friendship). In Holoubek’s Mazepa, in turn, the pro-Ukrainian/pro-Ruthenian accent is strongly visible. Eponymous Mazepa — in the time of the action of Słowacki’s play (and — of course — film), being a pageboy of the Polish King Casimir — is along with the protagonist Zbigniew the most noble and upstanding character in the movie. They are both also the most tragic heroes of the play, personalizing the sacrifice of young people — the Poles and the Ruthenians — that the lordly Poland quite often made in its history to last in its colonial shape. Translated by Sławomir Bobowski
5
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Opowieść o „życiopisaniu”. Portret Emily Dickinson w filmie Cicha namiętność Terence’a Daviesa

100%
Bobowski S.
Tematy i Konteksty
|
2019
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vol. 14
|
issue 9
610-635
EN
Emily Dickinson was not married nor had children, she did not establish a family, but she had a life filled to the brim with love, friendship, suffering, death, searching for God and, of course, writing poems about all these fundamental phenomena of human existence. Her poetry reveals a picture of a woman who is unusually spiritually rich, beautiful and…unhappy, living for the bigger part of her mature existence like a hermit, oftentimes being a witness of deaths of those to whom she was closest. Additionally, perhaps because of her Sapphic inclination, she could experience suffering being forced to suppress it and feeling social isolation or exclusion. On the other hand, any reader of poems by “the nun of Amherst” can sense a great blast of happiness and some ecstatic delight over the existence itself and… the possibility of expressing this delight in poems. Just life itself and poetry were the greatest passions of Dickinson among many others which profusely filled her psyche. Indeed, it is difficult to assess which of these two infatuations was stronger. That is why I used in the title of my essay a neologism: “life-writing” (“życiopisanie”), which was some time ago first employed by the Polish poet Edward Stachura in reference to his own life and poetry. Terence Davies’s movie about Emily Dickinson and her life is a real masterpiece in which the weave of the two main  passions Dickinson had, their interpenetration, their ardent intimacy or simply  indissolubility and unity have been shown in a deliciously suggestive way. The essay is a modest attempt at using such a way of describing things.
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