16 of 18 people found the following review helpful:
5.0 out of 5 stars
Zulawski's films have a very unique feel to them and can may be best described as intense, September 3, 2010
Andrzej Zulawski's films have a very unique feel to them and can may be best described as intense. After much time away from making Polish films (working on French movies), he returns to it with Szamanka. I cannot say that he refined his technique or improved his style because it was incredible from the start. Szamanka does not waste any time and pulls you in from the beginning and holds you with suspense until the very end.
There are two main characters in Szamanka. Michal (Boguslaw Linda) is a doctorate student interested in shamans and is fortunate enough to be part of a find of a lifetime - they have unearthed a man preserved in a peat bog. He is convinced this man was a shaman and wants to write his doctorate on him. Michal's life becomes complicated when he meets a pretty woman nicknamed Wloszka (Iwona Petry), which means Italian; she isn't Italian but called such by her friends because she can make a good pizza. She has a strange effect on the men that see her - they are captivated by her looks and often make passes at her. The fact that she wears clothes that show off her gams probably is part of the reason why she gets attention.
They instantly trigger emotions in each other after just meeting. Even though both are involved in relationships their meeting sparks a passionate bond. Their interactions are almost on a higher level and they can almost read each other's minds. The only guy that can excite her sexually is Michal and he also has the power to calm her psychotic-like breaks. Michal sees her as having a special power and her energy awakens a higher force in him.
I felt like the movie was like running full speed up to the line between sanity and insanity and looking off the cliff of madness getting a good look at the views one can behold. Szamanka truly is a feast of the sense. It isn't just a visual experience but one that is matched with intense music perfectly. I especially like how the music grows in intensity and suddenly stops. A lot of the music has drums and there is something primal about it that matches flawlessly.
Iwona Petry's acting is incredible. Considering her complex and abnormal character, she convincingly makes us see this person as real, as unnerving as her character may make some viewers. Petry's acting is beyond intense and is truly exceptional.
Unquestionably, Boguslaw Linda ranks among the best Polish actors and has also had the distinction of working with most of the best directors in Polish cinema. Linda has earned fame with his work in numerous dramas and action films; he has even stared in a few movies on the artsy side and without a doubt his role in Szamanka may be perceived as risky but adds an extra facet to his curriculum vitae.
Zulawski's films have a little bit of an artistic feel to them. Szamanka is a story of infatuation and is very erotic (with over a dozen sex scenes). At times, I thought Szamanka felt like a science fiction movie (especially when they were working over the mummy when it was placed in the glass case) and even a horror (due to some very dark parts). Although not everyone appreciates Zulawski's work and this is certainly not a movie for everyone, I think Szamanka is a masterpiece and Zulawski is a genius.
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4 of 4 people found the following review helpful:
5.0 out of 5 stars
Naked Soul (Last Tango In Warsaw), March 22, 2011
Finally, we have the full UNCUT special edition of Zulawski's beloved film on DVD thanks to Mondo Vision, who have done their absolute best to ensure proper releases for a great deal of Zulawski's catalog. Now we are hoping for a long-awaited re-release for Possession as it's been out of print for some time and perhaps a re-packaging of Diabel or The Silver Globe as the Polart releases left much to be desired considering Zulawski's film are nothing less than brilliant works to be cherished by film lovers' across the world.
As is made clear on the disc, Mondo Vision refused a couple of prints of the film before settling on the master used here. Restored for dirt, debris and noise, the result is an improvement over previous DVD releases for which praise may only be qualified by the comparison with previous Mondo releases.
Szamanka's packaging resembles some of Criterion's early works with the sturdy cardboard box exterior. Even more impressive, we are bequeathed interviews with both screenplay writer and director. Although I can't comment on the deluxe editon, special is the operative word in the special edition.
Ironically, this is the only film that Zulawski has ever made in his native country where it generated much controversy due to the explicit sexuality. Unfortunately, the film had a limited theatrical release and sold about 400,000 tickets. In France, the film had a limited theatrical release and sold 11,150 tickets. Szamanka was also screened during the Venice Film Festival in 1996. Naturally, this wasn't the first time Zulawski was attacked or criticized for making unconvetional artwork so it's truly a blessing for us to see this film at all.
For Zulawski,Szamanka was to be a film "without masks". Returning to his native Poland, Andrzej Zulawski asked Manuela Gretkowska to write a screenplay for him to film in the now post communist 1990s. Given the use of a writer other than himself and another country, it is surprising how much Szamanka shares with Zulawski's earlier work and at times even recalls his celebrated film Possession. Although it's almost impossible or even perverse to admit, Iwona Petry's performance at times mirrors the Adjani's masterful turn in Possession.
Iwona Prety plays the "Italian" and I don't think we ever learn her name throughout the course of 112 mins. At least, I don't recall any mention of it. In fact, we learn very little the yuong woman's background other than the fact she supposedly makes the hottest pizzas and tends to be rather high strung. One can only gather from a few short scenes that our female comes from a dysfunctional family which could explain her sudden emotional outbursts or tendency to steal. Lastly, The Italian's strong addiction to sexual intercourse of any kind with virtually anyone making her a loose cannon and unstable rather than completely vulnerable as viewers might believe.
In the beginning of Szamanka, the Italian meets a young but very engaged anthropology professor Michal during her search for an apartment. She accepts the apartment offered which was previously occupied by his brother, a priest. The scene culminates with a rather intense but erotic sex scene. As anyone can guess, this is not the last time our characters' paths shall cross nor is this a one time fling.
Michal spends his afternoons giving lectures on the human body, studying mental illness, and even takes part in an excavation with his tudents where a well-preserved body of 3,000 year old shaman is found. Unable to initially pinpoint the shaman's death, Michal is determined to examine the body with his students which seems unnatural given that the shaman was only 25-30 years old when he expired.
With each montage, it becomes more and more evident that our Italian will not be satisfied with a mere tryst and is determined to have the young professor at all costs. Although Michal does take her seemingly uneding sexual needs for granted and makes light of the Italian's intensifying obsession, he cannot bring himself to stay away and even takes some comfort in the fact that she is literally taken by him and his sexual prowess.
Within days, Michal's life spirals completely out of control. We learn that his brother was a priest and an active homosexual although he couldn't straddle the two worlds and ends up commiting suicide. Unable to cope with the loss of his brother, Michal continues his obsessive love affair with the Italian and even proceeds to move in her apartment. In turn, he severs his relationship with the fiance.
Zulawski's film carefully examines how relationships are often elements of destruction and even well-meaning people get caught up in the aspects of love which jeopardize our health or relationships with others. Not only does he focus on the unhealthy or unnatural circumstances which are repurcussions but he shows how the forces of good and evil are almost always present in any given situation. Although a severed relationship is inevitable, Szamanka demands to explore the darkest recesses of hallucinations and delusion when we look to love as our final statement in defining who we are or what we really need.
Perhaps one of the most beautiful scenes in Szamanka is towards the end of the film where Michal comes in contact with the spirit of the shaman. During this illumination, we learn the cause of the shaman's death and perhaps this is a mere foreshadowing of what will happen to Michal if he doesn't let go of his current obsession. Although it's merely just a dream or altered illusion rather than a reality, there's a great deal of validity to be found in this montage.
Having said that, Zulawski doesn't seem to be content in just exploring the nature of obssesive relations but also manages to tackle the then current states of affairs in Poland which should have been another spark of controversy and large notch in his continuous belt of censorship although there is no mention of it anywhere to the best of my knowledge at this present time. In a few scenes, it becomes blatantly obvious that our director could see all too well the oppressive politics or shady doings in his native country which seem to fit in nicely in the grand scheme of things.
In conclusion, Szamanka doesn't end on a happy note but it's certain that horror film enthusiasts everywhere or fans of great cinema in general are going to love this if they give it a try. I would perhaps suggest watching Zulawski's Possession first as primer before taking on Szamanka although both films are revolutionary works of a master's art in top form. Do not pass up your chance to see this film.
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