This is the 2nd elegant b/w foreign film based on a director’s family memories this year. Director Pawel Pawlikowski based this on again, off again love story on his own parents’ volatile relationship in Europe during the 1950’s. It is passionate and sad but romantically depicted against the backdrop of the restrictive Communist governments in Poland, East Germany and The Soviet Union.
This is a Cold Wartime romance that the director frames well with an ambiance not unlike that of Ilse and Rick’s romance in Casablanca. At times it has a smoky appearance, like classic Noir films, which suits the surroundings at that time in that place. Palikowski says his parents both had “great romance and a great war.” But it was not only a political war of countries, but a war in their relationship including passion, betrayal, separation and reconciliation. This is what you see in this film.
Zula (Joanna Kulig) is a young, talented Polish singer who auditions for a choir that tours as a political tool nationally and internationally. She is very attractive, in fact, a standout, noticed by the composer and pianist of what becomes a popular traveling music group called Mazurek, actually based on what was a real one under a similar name.
Wiktor (Tomasz Kot). is a talented musician working with Irena (Agata Kulesza, the jaded aunt in Ida), to bring music to the people in post war Poland. But Wiktor is an unlikely suitor for Zula. He is tall, lanky, serious and older, but sparks fly. Their passion is palpable. The Communist party takes over the group to use them to sing political propaganda. The wide shot of the choir performing as the enormous picture of Stalin drops down behind them is chilling.
They start planning to escape to the West together. It’s terrifying watching them walk toward the wall in Berlin to see if they make it across safely. He makes it, but she decides to stay behind. This is a love story in dangerous times where they grow apart and back together on both sides of the Iron Curtain over a period of years. We get to see their volatile relationship played out across Europe. Pawlikowski shot the film in Poland, Croatia and France. Zula does eventually get to Paris, but by that time she’s in a marriage of political convenience and a torch singer with a group. Kulig can sing, but there is no joy now. Her singing is haunting and somewhat sad. The director uses Billie Holiday’s “The Man I Love,” among other sad love songs to further project her longing.
Kulig reminds us of a combination Marilyn Monroe, Jessica Chastain and even Kim Novak, in one. You can’t take your eyes off her when she’s on the screen. She is sexy but fragile. Pawlikowski directs her as a woman who gives the appearance of being confident and strong, especially in her lively dance on the table falling into Wiktor’s arms. But she is really quite vulnerable, especially around Wiktor.
Kot is moody as Wiktor. He’s passionate but cruel when trying to navigate his feelings at this dangerous time and place, because he knows it could end very badly. Their relationship is a roller coaster ride dictated through no fault of their own.
The film follows this couple from 1949 to 1964 at the height of the Cold War. This relationship is a reflection of the times where they weren’t free to be themselves in any way. The music throughout changes, too, as a further reflection but asks the question, what price you are willing to pay for love.
This is a beautifully done film that fully develops these two individuals who cannot live with nor without each other. Pawlikowski makes it compelling to follow their love story, made all the more interesting when we found out it was based on the director’s parents. Love truly hurts, but this is a film worth loving.
Amazon Studios 89 minutes R
