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Konwicki czyta Wojtyle. O niezrealizowanym scenariuszu wedlug „Brata naszego Boga”

100%

Kaniecki P.

Pamiętnik Literacki

2013

tom 104

nr 1

189–197

The subject of the article is an unknown to date Tadeusz Konwicki’s screenplay based on the drama by Karol Wojtyla. The unfulfilled screenplay (the movie was to have been directed by Andrzej Wajda) is a story about young Wojtyla, the future Pope John Paul II, who at a night under occupation in 1945 takes part in a secret theatre rehearsal that prepares for staging his play. Wojtyla plays the title character, Adam Chmielowski, a historical painter, who at the end of 19th century chose to enter a monastery and as brother Albert (the future patron saint) dedicated himself to organizing help to the poorest. The trauma after the 1863 Insurrection implied in the screenplay as a source of Adam’s stance is also Konwicki’s suggestion on the source of Wojtyla’s stance. Konwicki sees in Wojtyla’s priestly way leading to pontificate a response to the evil of war world.

DOLINA ISSY: AUTOBIOGRAFIA DUCHOWA I „FILM-WSPOMNIENIE”

72%

Rezoničnik L.

Motus in verbo: časopis mladej vedeckej generácie

2017

tom 6

nr 2

33 – 41

The article deals with the novel The Issa Valley, written by the Nobel laureate in literature Czesław Miłosz, and its eponymous film adaptation by film director Tadeusz Konwicki. Both authors were born in the region of today’s Lithuania, which, with its intact natural environment and ancient folk beliefs, left a strong mark on their childhoods. In the present novel or film, the authors narrate their childhood through fragmentary memories, which are transformed by fiction, and through representations of thoughts: while Miłosz narrates his own childhood, Konwicki transforms the novel into film and shows the story through audio-visual images, at the same time also exposing himself in the role of author. With a chronotope analysis, and based on the anthropological-morphological method of film analysis, the contribution presents the methods of verbal and audio-visual representation of an adult-narrator memory on the landscape of his home region and on the time of childhood as well as defining the discussed works with the categories spiritual autobiography and „film-memory”.