A Potpourri of Vestiges Review
By Tanmay Shukla
By Tanmay Shukla
Pawel convinces
us of his sincerity from the very beginning by the authenticity of his setting
to make a magnificent film made possible by his excellent direction. He uses minimal
dialogues, dazzling visuals, solid acting and meticulous production to hold our
attention as the film jumps through time in the narrative. It is funny in parts
and flows through rapidly, floating on the rhythms of the music filling its
atmosphere.
A team is sent
across the country to unearth local singers and dancers who will perform their
folk art as part of State propaganda. They call it “the music of pain and
humiliation.” From there, Cold War explores themes of love, freedom and role of
state. There is not much else to tell. It is a little undercooked in this
department. Much of it is in the realm of mystery, forcing us to ponder and
also allowing us to freely associate.
Joanna
Kulig is exceptional as Zula. She is a village girl with an unforgiving past.She
has served time for killing her father. She explains that his father mistook
her for her mother so she used the knife in disgust. Zula is energetic and
spirited. She is perceptive too. She is quick to sense Wiktor’s intentions. She
boldly asks, “Are you interested in my talent or me?” during their early
exchanges. Her talent makes her a successful singer but her condition leaves
her yearning for the love of her life, Wiktor, no matter how far or how often she
runs away from him. Wiktor is a talented composer. He falls in love with Zula and
pursues the opportunities at work. He inspires Zula, “Everything here is for
you. Believe in yourself.”
Cold War’s
narrative tracks down the interactions Zula and Wiktor are having which are
spread across more than a decade. East Berlin, 1952: Zula is thinking, staring
at her reflection in the mirror. Paris, 1954: They have separated, residing in
different cities. They aren’t happy. They love each other but they can’t be
together. When Wiktor gets back home late, his wife asks where he was “whoring
around?” He answers, “I don’t have money for whores. I was with the woman of my
life.” Paris, 1957: He is making the soundtrack for a film. Zula is married to
a Sicilian, her new name is Gangarossa. Their passion is still alive and they
make love. They have moved in together. They are composing and writing music. Their
connection is too romantic. “Come in here, I’m a bit sad,” says Zula.
When they
start living together, their chinks become apparent. “In Poland you were a
different man, you are different here,” she says. And “Michael fucked me six
times a day. He wasn’t like a Polish artist in exile.” He slaps her. “Now we
are talking.” She leaves for Poland next day.
Poland,
1959: Wiktor is imprisoned because he was caught crossing borders illegally. “I
will wait for you,” says Zula. “Find out a normal guy who can put up with you,”
he says. Poland, 1964: They finally marry.
The
production of Cold War is not big, it’s beautiful. Every frame, every small
detail of the costume, accessories, art and sets are designed and crafted to perfection. Pawel’s film has enough substance to engage for
its length and on top of that it’s visually vividand captivating. The soundtrack
is exquisite and rich. It starts with the folk and then includes classical and
jazz music as well. It builds the required mood to communicate the feelings of
the central two characters.
Like Pawel
Pawlikowski’s last film Ida, which won the Oscar for best foreign language film,
Cold War too is leaving an impression as much for its visual brilliance as for
its cinematic genius. Here, Pawel again chooses to shoot in monochrome and 4:3
aspect ratio. Not only does it givea distinct look to his films, he uses it to
perfection and his compositions are simply memorable.Cold War has soft natural
lighting which aids when looking intently at the screen, trying to absorb all
the details of the period and appreciate the marvellous compositions by
cinematographer Lucasz Zal. The tracking shots are just as gorgeous. It’s as
stylish and glamorous as it can be.
Zula and
Wiktor are sitting together staring at the rural landscape stretching in front
of them. “Let’s go to the other side. The view will be better,” says Zula. The
ending is melancholic and wistful. They are together, they are where they want
to be and they are hopeful. This is one such film that keeps running in your
head long after it’s over.
Cold War - Official Trailer
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