Film Notes: Blind Chance

Before there was Sliding Doors (1998), there was Blind Chance (1981), a more complex, yet strikingly less subtle story of a person whose fate is decided by whether they catch or miss a train. Like Sliding Doors, in which Gwyneth Paltrow's character both misses and catches the train - and the story bifurcates into two possible realities; in Blind Chance the story splits into three as different possible outcomes are explored for Boguslaw Linda's character, Witek.

There are a number of significant differences between the two films however. The first is that while Sliding Doors is a domestic story of love or loss, of success or failure, of happiness or disappointment, Blind Chance's outcomes are all to do with politics. What's more, they are to do with the politics of the emerging resistance to Poland's communist regime; culminating the film being banned when General Jaruzelski declared martial law there in response to the Solidarity movement.

While Paltrow's character ends up with a good guy or a bad guy; Witek either (1) catches the train and falls in with communists who get him to join the party; for whom he works with some commitment; or (2) fails to catch the train and has a fight with a station guard leading to arrest and falling into the company of the freedom movement, or (3) misses the train and returns quietly to medical school, avoids politics, marries a fellow student and had a child.

Its an intriguing film, and a fabulous period-piece about Poland in the Solidarity era; not a documentary by any means, but nevertheless a wonderful historical document. As usual for a Krzysztof Kieślowski film the cinematography is delicate, and perceptive; and the intrigues of human nature poignantly observed. I was (I must admit), a little shocked by the amount of sex and nudity in this film. I am not especially prudish; but by Krzysztof Kieślowski's standards this was very unusual. Several of his films contain sex references and enough violence to gain a (15) certificate; but I was surprised by how explicit he chose to go in this film. Sex, marriage and babies are of course, part of human life, and there was nothing here that was extraneous to the plot(s), but I'm not sure that so many naked shots were required.

The key question which hangs over the film is far more serious than what a handful of Poles looked like in 1981 with their kit off. Witek, the main protagonist, is portrayed as being incredibly malleable, and seems to receive all his life direction from his circumstances. He doesn't seem to have many thoughts or values of his own, to bring into the different scenarios into which he is plunged as his biography splits into three possible realities. His political and religious views are entirely shaped by fate in the unfolding scenes in his life; and the company he finds as a result of the caught/missed train scenario. While no one would be foolish enough to suggest that circumstances play no role in our formation, it is perhaps an exaggeration to suggest that we have no capacity for thought, analysis or moral judgement whatsoever, but are only and exclusively the product of our immediate stimuli. Krzysztof Kieślowski's severest critics have rounded on him for the apparent suggestion that a student would either end up working as a Communist Party apparatchik or an underground samizdat publisher on the flimsy grounds of a conversation on a missed train. But this is unfair on the filmmaker - who is clearly not meaning that we take the meaning of the plot that literalistically, but rather see it as a device for exploring the extent of individual agency. In that it is highly thought provoking and intelligent filmaking.  

I'm still not sure what to make of the surprise ending though. Without spoiling the film for those who haven't seen it, it has the benefit of uniting the three story strands; and uniting the three versions of the character in a jarring equality!

Film Notes: Camera Buff

Like many people I first came across Krzysztof Kieślowski through his later work such as The Three Colours Trilogy, made after his move to France from his native Poland. Only later did I stumble across his earlier, rougher films such as the Decalogue series, made in the drabber environment of Soviet-era Polish communism. This film, Camera Buff, comes from amongst these earlier pieces, made in 1979.

The first striking think about the film is that it is a period-piece for its time. The Soviet-era architecture, cars, clothes, and factories are obvious. What then hits the viewer is the social-economic setting of the film. The obvious heavy-industrial context, with wheezing factories belting fumes from their modernist chimneys, is the backdrop for a series of relationships which too are located in time and space. The deadening bureaucracy which controls the factory is typical of the era, as are the depictions of an adequate but basic life in the stagnant command-economy. Over all these relationships lurks the chubby party-boss, whose role is to oversee all the people and operations in the plant and the town for the party-state, and to protect the sacred Marxist-Leninist ideology. All this dates the film in the Cold-War era of the East generally, but what is even more interesting is that in 1979, it was obviously acceptable to portray the party boss interfering and censoring the film in a way which would not have made it to the screen in 1970, let alone before 1951.

The film itself concerns Filip Mosz, a factory worker deftly played by Jerzy Stuhr, who gets a film camera with which to record the life of his first child, who is born near the start of the film. The camera is obviously a scarce resource, and the party demand that he use it to film the jubilee of the factory in which he works. This is successful, and leads to the establishment of a small film unit at the plant, making party-approved pieces - but Mosz's slightly artistic takes on everyday life gain wider plaudits, much to the anxiety of the party.

The tension between art and political control forms only a sub-plot however. The main theme is the obsession of the artist, and the way in which it takes over his life, causing great strain within his marriage. The lens through which Mosz increasingly lives his life becomes that of an observer, and recorder of life; not a full participant in it. This process is seen as even when not filming, he views scenes in his life and marriage - as if through a lens; forming a square with his hands to imagine how the scene would appear on film; to the increasing distress to his wife (Malgorzata Zabkowska as Irka Mosz). His cinemtographical exploits also unintentionally damage colleagues on the way too, a price he seems willing to accept for his art.

In one sense the film points to the way in which art and creativity provides a meaning for a man in an empty, drab, and highly controlled world. If the bleak nature of the vast monoform flats in which he lives, and the dispiriting nature of his work as a buyer for a factory in a command-economy which was unresponsive to his needs; was the problem, then Mosz found his outlet in capturing things as beautiful, natural and innocent as pigeons on the wing, or road-menders toil. However, Camera Buff now looks strangely prophetic in the sense that in the mobile phone/social media era there seems to be a strong pull (dare I say it, especially amongst the young!) (I know, I'm an old fart), to film and observe life and the world - rather than fully participate in it. I love my camera, and for a long time took it everywhere, but I was away that sometimes capturing an image was at odds with enjoying experiencing the reality of it. Banksy, in his own inimitable style views it like this:

In 1979, Krzysztof Kieślowski imagined it like this:

A Return Visit to Stob Coire Easain and Stob a'Choire Mheadhoin

There are some Munros worth climbing more than once; and these two are definitely in that category. The first time I walked up this fine pair of peaks, was before I began this blog; and my records were kept in a notebook. There are several things I can remember distinctly though, the first is the extremely early summer start, missing my turning up onto the ridge, and clambering through undergrowth, before experiencing an inversion on the summit, and having a lovely sleep up there too; before the clouds lifted and the sun blazed on the hills above, and Rannoch Moor below.

Looking down on Loch Treig (SMcL)

This time this it was quite different, a winter ascent with company! We began at the walkers car ark, and marched by the light of head-torches along to the dam and the lochside. Aware that I had missed a turn last time, we doubled checked with our GPS (which hadn't been invented then!), and found the correct track up to the sheepfold on the Lag Odhar ridge. The first obstacle of note is Meall Cian Dearg which looms ominously over the track below, looking high and impenetrable. As is so often the case, these impossible-looking hills are steep, but don't present any technical challenges; as a path weaves its way in and our of the rocky outcrops.

It's been a while since I have done a walk of this seriousness, and my lack of fitness took its toll on this long steep climb.The last section looked as if it would have been awful in the wet; but yesterday the peat was frozen solid to the hill, and provided some good traction. As we made the top of the Meall Cian Dearg (which is really just a steep end of the ridge), the morning sleeper train from London rumbled its way Northwards alongside Loch Treig below. The guidebook says that Rudolph Hess was kept in house arrest in this glen at the end of the war; that strange character, sitting in a lonely cottage under house-arrest, awaiting his fate, listening to trains rumbling over the moor.... a very odd thought indeed.

Once on the main ridge, the path comes and goes, and some thought is required to keep on track; as in the cloud the ridge is broad, featureless and remarkably long. When finally it narrows and the ascent to Stob a'Choire Mheadhoin begins, the finest section of the walk begins. From here, over the two peaks is a very fine ridge walk; with enough to keep the walker entertained even in the thick fog which wrapped itself around us constantly. We walked much of the way with a couple from a couple of miles up the road from us in Scone, who we fell into conversation with on the way, which was pleasant too.

Unlike my last trip, which involved a long dreamy sleep on the summit, followed by watching the sun-shimmering over Rannoch Moor; yesterday was just too cold to stop for long. For the first week in January conditions were good, there was no snow at all, even at altitude. In fact the Ptarmigan in their pure white camouflage stood out like a sore thumb, with no snow to merge into. In fact, we were so cold that we route-marched it back to the car. SMcL needed to collect some things in Aviemore, which meant a longer drive home; but having done the walk in good time, we were back for 7-ish.

Spot the ptarmigan (SMcL)

Last Sunday I was interviewed in church (Nethybridge CofS, if you're interested), and they asked me what my New Year's resolutions were. I replied, "to get to the hills more". In that regard, 2019 has got off to a flying start.

Abernethy New Year Houseparty

Our whole family is just back from a great few days at Nethybridge Outdoor Centre, where we joined their New Year Houseparty. I've never been to anything like it before, but really enjoyed it. We were there from Sat-Weds, and had access to all their on-site activities like tennis, table tennis, swimming, dry-ski-slope, walks, games, etc; as well as joined in the Hogmanay Party, with ceilidh and fireworks. The centre in situated in beautiful woodland in the Cairngorms National Park, and and so has an abundance of mountains, rivers, lochs, climbs and bike trails on its doorstep. Alongside this there was a programme of evening meetings with light-hearted entertainment, as well as the Christian worship and teaching that the Abernethy Trust offers. It was this last aspect that I was able to contribute a bit too as well.

The accommodation was  basic but comfortable, and the food regular, plentiful and good value! It's a while since we have all piled into a family room together, and snored and coped with each other's irritating habits, but it was fun. One of the highlights for me was getting to know some of the staff a bit. Because I was helping with the meetings, I worked closely with them; putting the programme together. Abernethy seem to have managed to create a nice balance between professionalism and friendliness which makes working for them a joy.

The other guests were fascinating too. I enjoyed some really intriguing discussions with people from a huge variety of backgrounds; and opinions! There were Scots, English and Northern Irish folks to start with, and others who had lived all over the world. There were people from High-Church, Low-Church and No-Church, full-time parents, farmers, engineers, academics, charity-sector workers, teachers, physios, psychiatrists, retired folks, and youngsters, toddlers, a Cathedral verger and many more! I don't think I have ever encountered such an eclectic mixture of interesting people in one place before.

In the meetings we looked at the lessons from some of the Bible's more overlooked characters. These were Barabbas the convict, Bathsheba, King Omri, Hezekiah and Barnabas. The centre has a great band, made up of staff past and present, and they led us in worship every night too - which was really encouraging. I got to speak in the local CofS at Nethybridge too. I had suspected before I went that it might be a small or sleepy affair; but that just exposes the folly of my prejudices! The beautiful country kirk was crammed to the gunnels with people, with extra chairs in the aisles to accommodate them.

The only real disappointment was the complete lack of snow all week. When the snow comes, the centre runs a bus to and from the Lecht every day, and my kids were desperately hoping to fill their days on the slopes. Alas, twas not to be! I felt a bit sorry for them, as the possibility of snow had been a major draw for them coming up there with me. However they seemed quite happy flinging their Mum around at the Hogmanay Ceilidh, as 2019.

Abernethy is a great place. I hope I can go back one day.