Jerzy Skolimowski: The Cinema of a Nonconformist by Ewa Mazierska

By Ewa Mazierska

Jerzy Skolimowski is among the most unusual Polish administrators and one in all just a handful who has won real reputation out of the country. this can be the 1st monograph, written in English, to be dedicated to his cinema. It covers Skolimowski's occupation from his early successes in Poland, equivalent to identity Marks: None and Barrier, via his émigré motion pictures, Deep finish, Moonlighting and The Lightship, to his go back to Poland the place, in 2008, he made the across the world acclaimed 4 Nights with Anna.

Ewa Mazierska addresses the most positive factors of Skolimowski's movies, equivalent to their affinity to autobiographism and surrealism, whereas discussing their characters, narratives, visible type, soundtracks, and the makes use of of literature. She attracts on a variety of cinematic and literary texts, situating Skolimowski's paintings in the context of Polish and global cinema, and drawing parallels among his paintings and that of 2 administrators, with whom he has a tendency to be in comparison, Roman Polański and Jean-Luc Godard.

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The actor provided a genuine contrast to Zhang Stars 47 Directory of World Cinema favourites David Chiang and Ti Lung, and refused to imitate Bruce Lee in a period of pallid impersonators. His physique rivalled those of Zhang’s other yanggang (‘staunch masculinity’) idols, but his face was boyish, and this tension became a central facet of his persona. Crowned by a mop of black hair, his visage bore the graphic features of a comicstrip figure: thick, agile brows; eyes shifting from doe-eyed naivety to a shrewd or steely squint; lips apt to swell into a sulky pout.

Her acclaimed performance in the director’s semi-autobiographical work revealed the first of her roles playing women in changing societies, who face issues of cultural and transnational identity that challenge personal autonomy. In Song of the Exile, as the daughter of a Chinese father and Japanese mother, she slowly begins to understand her mother’s alienation when she married into a Chinese family, as well as how the later issues of the Cultural Revolution in relation to Hong Kong’s own precarious sense of identity mirror her own personal dilemmas.

With its blend of martial arts, soccer, comedy and Dirty Dozen homage, the film proved to be Hong Kong’s most popular box office success of the time. Though acquired for American theatrical distribution, the film was delayed and only appeared on DVD. This film was also the last time Chow appeared with Ng Man-tat as his straight man. The star was obviously moving in new directions, conscious that times were changing and that he had to adapt. Kung Fu Hustle (2004) gained not only American theatrical release but also critical success, as well as breaking Hong Kong box office records.

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