Went
yesterday to nearby cinema to do myself a birthday treat, or in other words a
debraining experience I yearned for after the recent heartquake.
The film is
a sequel of Pitbull. Nowe Porządki which went to the silver screen in January
2016 and which I admit to have watched it less than two months ago on YT
(legally as I was not sharing the content), prompted by a friend. The case of
Pitbull. Niebezpieczne kobiety is a rare example of a sequel beating the
original story. Nevertheless, you should not expect much from the film directed
by Patryk Vega, whose moving pictures have never been favourably reviewed by
critics, but have wide audience who fancy the job he does.
The film
could boast of record-high audience over the weekend it premiered. Over the
first three days on big screen it was watched by 768 thousand cinema-visitors, until now the audience count reached 2.4 million. Over the first two weeks
cinema rooms were reported to be chock full of people, a phenomenon I have not
witnessed for ages. Even while watching Wołyń the weekend it premiered, though
there were more than 100 people in the auditorium, by no means crowds were
pushing in.
According
to critics and anonymous authors of online reviews, the plot is the film’s
weakest point. I would argue given the theme of the blockbuster there was
little room to get a better effect and I notice improvement in comparison to
Pitbull. Nowe porządki. Nevertheless
I share many watchers’ view the plot is hard to follow and you need to read a
lot between the lines to make out why some scenes come after others.
So you
might wonder what drew in millions of Poles to cinemas to see this very film. I
suppose the response is that Poles are fond of a fine blend of dirt. The
ingredients are: coarse sex scenes (sometimes resembling porn films), foul
language and violence in abundance. Besides when the plot is set around the
thin line dividing the forces of good (police) and evil (mobsters trading in
fuel and wheedling out VAT refunds). The film is claimed to be inspired by
actual stories, but I resist to even wonder whether meanderings of life of
criminals and policemen chasing them have been depicted accurately.
The
blockbuster, slated by many, yet watched by many, many more is not an
outstanding piece of film art. It stands no chance of going down in the history
of Polish cinematography, as Psy have done. Quotes from it, though funny and at
times bright and quaint are unlikely to become cult. But if are at a loose end
around Christmas and not expect an ambitious film, two and a half hours
(including advertisements before) spent in a cinema will not be a waste of
time.
Actually
for many years I had not been fond of film-watching. For no apparent reason my
attitude towards trips to a cinema has changed recently. Sitting in cosy chair
in a dark room for some two hours takes you cuts you off from the imperfect
outer world and lets you submerge in a totally different reality. After a
series of trailers watched yesterday I know which two Polish films I will
definitely watch in the first quarter of 2017.
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