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2 of 2 people found the following review helpful:
5.0 out of 5 stars
Biography of Krzysztof Kieslowski,
By Polish Jazz Network (PolishJazz com) - See all my reviews
This review is from: Krzysztof Kieslowski (Polish School of Documentary Movies) PAL, Region 2. (DVD)
Other titles of Polish School of Documentary Movie Series available at Amazon:
Andrzej Munk Black Series (Czarna Seria) Kazimierz Karabasz Krystyna Gryczelowska / Danuta Halladin / Irena Kamienska Marcel Lozinski Maciej J. Drygas Marek Piwowski Maria Zmarz-Koczanowicz Wojciech Wiszniewski *** Krzysztof Kieslowski - director of documentary and feature films, screenwriter. Born in 1941 in Warsaw; passed away there in 1996. In 1962 Krzysztof Kieslowski graduated from a technical theatre college and went on to work at the Teatr Wspolczesny (Contemporary Theatre) in Warsaw, where he was a dressing room attendant for such celebrities of the Polish stage as Tadeusz Lomnicki, Aleksander Bardini and Zbigniew Zapasiewicz. He went on to study at and graduate from the State Higher School of Film, Television and Theatre in Lodz in 1968, and he received his directing degree from this institution in 1970. While in Lodz, Kieslowski studied with Kazimierz Karabasz and Jerzy Bossak and it was under their guidance that he created his first documentary student films (URZAD / THE OFFICE, Z MIASTA LODZI / FROM THE CITY OF LODZ). He made his first short feature (TRAMWAJ / THE TRAM) under the eye of Wanda Jakubowska. He debuted professionally with a television documentary titled ZDJECIE / THE PHOTOGRAPH, and after graduating from film school, he was affiliated with the Wytwornia Filmow Dokumentalnych (Documentary Film Studio) in Warsaw until 1983, for which he made documentary films almost exclusively. Throughout these years, however, he clearly sought to scale down his documentary film production in favor of feature films. In 1973 he made his first narrative film, the made-for-television feature PRZEJSCIE PODZIEMNE / THE UNDERGROUND PASSAGE. In 1974 he became a member of the TOR (TRACK) Film Studio, which was initially headed by Stanislaw Rozewicz before Krzysztof Zanussi assumed the helm. In 1985 Kieslowski began to collaborate on screenplays with renowned Warsaw attorney Krzysztof Piesiewicz. Their first joint project was the film BEZ KONCA / NO END, which marked the beginning of a long-time collaboration that would see them work together on all of the films Kieslowski would direct afterwards. KROTKI FILM O ZABIJANIU / A SHORT FILM ABOUT KILLING and KROTKI FILM O MILOSCI / A SHORT FILM ABOUT LOVE (1988), two films in the DEKALOG / DECALOGUE series, brought Kieslowski international recognition. In 1991 (PODWOJNE ZYCIE WERONIKI / THE DOUBLE LIFE OF VERONICA) Kieslowski began making his films as Polish-French co-productions, and from 1993 all his films were collaborative efforts with the renowned French producer Marin Karmitz. After completing the TRZY KOLORY / THREE COLORS trilogy (1993-94), Kieslowski announced that he was abandoning the filmmaking profession. During the last months of his life, he worked with Piesiewicz on a screenplay for a triptych consisting of works titled RAJ / PARADISE, CZYSCIEC / PURGATORY and PIEKLO / HELL. Between 1978 and 1981, Krzysztof Kieslowski served as vice chairman of the Stowarzyszenie Filmowcow Polskich (Association of Polish Filmmakers). He also spent some time teaching at film schools located in West Berlin, Helsinki, Lodz, Katowice and in Switzerland. During his lifetime, Krzysztof Kieslowski won numerous awards for his work as a maker of documentary and feature films, among them a Grand Prix at the INTERNATIONAL FILM FESTIVAL in Mannheim for PERSONEL / PERSONNEL (1975), a Gold Medal at the Moscow International Film Festival for AMATOR / CAMERA BUFF, the Golden Lion at the Venice International Film Festival for TRZY KOLORY: NIEBIESKI / THREE COLORS: BLUE and the Silver Bear at the INTERNATIONAL FILM FESTIVAL in Berlin for TRZY KOLORY: BIALY / THREE COLORS: WHITE. In 1976 he received the "Drozdze" / "Yeast" Award of "Polityka" weekly, and in 1985 Kieslowski received a lifetime achievement award at the 15. LUBUSKIE LATO FILMOWE / 15TH LUBUSKIE FILM SUMMER in Lagow. In 1990 the director became an honorary member of the British Film Institute for his "outstanding contributions to the culture of the moving image," and in 1993 he received the Order of Literature and Art of the Minister of Culture of France. In 1994 Kieslowski was awarded the Danish C.J. Soning Award for his contribution to the development of film art and European culture, and that same year he was nominated for an Academy Award for his direction of TRZY KOLORY: CZERWONY / THREE COLORS: RED. In 1995 he became a member of the American Academy of Motion Picture Arts and Sciences. Kieslowski received the European Media Award (Girona) in 1996 and was a winner of the Felix Award of the European Film Academy. The Department of Radio and Television at the University of Silesia in Katowice was named after him in the year 2000. "This is a name familiar to all of cultured Europe (...). His films have won distinction at the world's most prominent festivals - from Cannes to Venice, Berlin, Chicago (...) from Strasbourg to New York, Hong Kong and Jerusalem," wrote Stanislaw Zawislinski ('Kieslowski. Bez konca' / 'Kieslowski - No End,' Warsaw, 1994) just two years before the passing of Krzysztof Kieslowski, a director whose films have been seen and admired by millions around the world. Krzysztof Kieslowski was an exceptional individual in Polish narrative and documentary cinema. He was someone who cleared the way for others, who was neither afraid to ask difficult questions nor the most fundamental and universal of questions. Zawislinski believes that humans were already Kieslowski's primary subject of interest when he embarked on his career as a filmmaker. "Man clashing with society, with power, with the System, with his environment, with his family and with himself. Man entangled in contradictions, dependencies and conflicts. Man constantly forced to make choices in a world of established values and bearing responsibility for those choices. Man encroached upon by politics and man beyond politics. Man facing the inevitable and eternal effort towards freedom, equality and just, eternally seeking love, joy and understanding..." Finally, man who asks himself and others (just as the director does) one fundamental question: "How should one live?" This question is present throughout Kieslowski's oeuvre, be it in his documentary or narrative films, though at first glance there seems to be a vast chasm between his documentaries and the films of the THREE COLORS series or even his middle period features like PERSONNEL, CAMERA BUFF, SPOKOJ / THE CALM or BLIZNA / THE SCAR, which were considered examples of the cinema of moral anxiety. Krzysztof Kieslowski, known widely as a director of narrative features, was for many years predominantly a maker of documentaries. He seemed to remain a documentary filmmaker even when he began directing feature films, and he persisted in this stance up through the production of NO END. It is difficult to agree with Mikolaj Jazdon, the author of a monograph devoted to Kieslowski's documentary cinema ("Dokumenty Kieslowskiego" / "Kieslowski's Documentaries," Poznan, 2002), who claims that this aspect of the director's oeuvre was never granted the esteem it deserved. It is impossible of course for a documentary filmmaker to compete with a director of feature films, but among documentary filmmakers Kieslowski was truly considered a leading light, especially in Poland. "The artistic and box office successes of 'Decalogue,' 'The Double Life of Veronica' and 'Three Colors,' eclipsed Kieslowski's achievements as a documentary filmmaker. Those who remember 'The Tram,' his first student film, might even insist that the director was destined to make features from the beginning. In fact, this short, soundless film, which tells the story of a meeting between a boy and girl gone awry, contains so much of what would ultimately interest the director about reality, life and coincidence. These same interests also characterized his work as a documentary filmmaker..." wrote Boguslaw Zmudzinski in a catalogue that accompanied the retrospective of Kieslowski's films organized during the 33rd International Festival of Short Films in Krakow in 1996. In this same publication, Marek Hendrykowski wrote, "Documentaries were Krzysztof Kieslowski's first great love. Today, when his worldwide successes as a director of feature films have obscured his documentaries, eclipsed them, we somehow forget how significantly the documentary film years preceding this success shaped Kieslowski's artistic identity and how much the his features owe to his experience as a documentary filmmaker." Mikolaj Jazdon goes even further in his analysis, finding the last stages of Kieslowski's oeuvre equally colored by his experiences with documentary filmmaking, though one might think that by this time the documentary way of examining reality would have been lacking entirely from his work. Nevertheless, the years 1966-80 were for Kieslowski very much the years of documentary filmmaking. In these twelve years he produced more than a dozen documentary films that featured collective heroes (THE OFFICE, FABRYKA / THE FACTORY, FROM THE CITY OF LODZ, SZPITAL / THE HOSPITAL, ROBOTNICY '71 - NIC O NAS BEZ NAS / WORKERS 1971 -... Read more ›
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