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Artysta w zwierciadle sztuki. Recenzja książki Seweryna Kuśmierczyka: "Księga filmów Andrieja Tarkowskiego"

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Żyto K.

tom 35

259 - 263

Volumetrically impressive elaboration by Kuśmierczyk — amounting to a hundred pages — describes Tarkovsky as a real man-artist. The book, having the formula of a biographic monograph, tries to catch all the film accomplishments of the Soviet director. The author, analyzing chronologically the artist’s works, not only refers extensively to their biographic context, but also focuses our attention on plots, motifs and formal solutions marking Tarkovsky’s style. In a very convincing mode Kuśmierczyk shows the creative way of Tarkovsky, the development of his personality and approach to the cinema philosophy. With a great diligence the researcher quotes biographical curiosities connected with the process of creating the director’s works and traces the cultural and metaphysical contexts of Stalker’s author’s poetics.

Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns

100%

Żyto K.

tom 24

39 - 54

The idea of film noir, especially neo-noir, viewed as a stable and clear genre has as many supporters as detractors. The controversy is nothing new, and a compromise is still elusive. The reason for such an impasse is not merely the intransigent stance of opponents, the strength of their arguments, but is also a result of the hybridization of genres in main stream cinema (and elsewhere). I discuss the problem presented by film noir in the context of the question of generic identity on the example of the Coen brothers’ Oscar-winning Fargo. The movie is an interesting case study as it does not make use of any of the genres typical for film noir in its unadulterated form (i.e. genres associated with film noir in its classical era). In Fargo, Joel and Ethan Coen skillfully combine elements of the detective story (though not necessarily associated with hard-boiled fiction) with crime shows, gangster movie with thrillers about psychopaths, comedy with tragedy and family drama with melodrama of mischance. The result remains the same — the world of Fargo stays noir, dark and pessimistic and permeated with the absurd.