Wojciech Has

6.5 The Noose (1957)
6.0 Lydia Ate the Apple (1958)
6.0 Goodbye to the Past (1960)
6.5 Gold (1961)
6.0 How to Be Loved (1962)
7.1 Manuscript of Saragossa (1964)
6.8 Lalka (1968)
7.2 The Hour-glass Sanatorium (1973)
6.9 An Uneventful Story (1985)
6.9 Memoirs of a Sinner (1986)

If English is your first language and you could translate my old Italian text, please contact me.
Uno dei registi più amari di Cracovia, Wojciech Has, fece numerosi documentari prima di emergere nel 1957 con the expressionist Petla/ The Noose (1957), adapted from a story by Marek Hlasko, starring the great theatrical actor Gustaw Holoubek, with sets designed by Roman Wolyniec, cinematography by newbie Mieczyslaw Jahoda, and a soundtrack that launched the career of composer Thaddeus Baird. Un alcoolizzato cerca invano di sottrarsi al vizio di bere e finisce per suicidarsi.

Pozegnania/ Farewells (1958), based on Stanislaw Dygat's novel, photographed again by Jahoda, storia dell'amore infelice fra uno studente per bene e una prostituta;

Wspolny Pokoj/ Common Room (1959), adapted from Zbigniew Unilowski's novel, apologo nichilista in cui un gruppo di persone passa il tempo a bere e a discutere senza riuscire a trovare una buona ragione per continuare a vivere.

Rozstanie/ A Separation/ Goodbye to the Past (1960), based on Jadwiga Zylinska's novella, with lavish sets designed by Jerzy Skarzynski, commedia sentimentale in cui l'attrice tornata al paese è contesa fra la nostalgia e il dolore del proprio passato;

the psychological drama Zloto/ Gold (1961), a collaboration with screenwriter Bohdan Czeszko, set in a coal mine, one of his best

Jak byk Kochana/ How to Be Loved (1962), based on a short story by Kazimierz Brandys and starring Zbigniew Cybulski, il capolinea nella corsa a rivangare il passato;

The three-hour surrealistic orgy Rekopis Znaleziony w Saragosie/ Manuscript of Saragossa (1964), adapted from Jan Potocki's novel and another collaboration with Jahoda and Skarzynski, is a bizarre rebus of nested tales, a labyrinthine psychological odyssey, a time loop that ends where it had started, a postmodernist take on the "Decameron" and the "Arabian Nights".

Szyfry/ Codes (1966), an adaptation of Andrzej Kijowski's story,

Il passaggio al colore, con Lalka/ Doll (1968), adapted from Boleslaw Prus' novel, favorisce l'accentuarsi dell'onirismo e delle rarefazione figurativi nell'angoscia ossessiva di tematiche demoniache: un uomo reso schiavo da una perversa aristocratica decaduta.

Sanatorium Pod Klepsydra/ The Hourglass Sanatorium (1973), adapted from Bruno Schulz's novel, photographed by Witold Sobocinski, with an almost supernatural recreation of traditional Jewish life, is a nonlinear account of young Jew's obsession with traumas of his childhood who visits his father at the sanatorium where he is hospitalized. It is a oneirci, delirious and visionary, work that bridges pay and future.

Nieciekawa Historia/ An Uneventful Story (1982), based on a Chekhov story, photographed by Grzegorz Kedzierski, è un Kammerspiel claustrofobico, un lento scavo nella desolazione della morte di un uomo.

Pismak (1984), adapted from the novel by Wladyslaw Terlecki

Osobisty Pamietnik Grzesanika przez Niego Samego Spisany/ A Sinner's Personal Diary Written by Himself/ Memoirs of a Sinner (1985), an adaptation of James Hogg’s gothic novel "The Private Memoirs and Confessions of a Justified Sinner" (1824), onorico, fiabesco, virtuosismo figurativo e scenografico: un apologo sul bene e sul male.

He closed his career with yet another adaptation, Niezwykla Podroz Baltazara Kobera/ The Extraordinary Journey of Baltazar Kober (1988), from Frederick Tristan's novel.

Has died in 2000.

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Wojciech Has: Sanatorium Pod Klepsydra (1973)