Blind Chance

1987

Drama

43
IMDb Rating 7.9 10 7,795

Synopsis


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May 11, 2020

Cast

720p.BLU 1080p.BLU
1.1 GB
1280*720
Polish 2.0
NR
23.976 fps
114 min
P/S N/A / N/A
2.05 GB
1920×1080
Polish 2.0
NR
23.976 fps
114 min
P/S N/A / N/A

Movie Reviews

Reviewed by paul2001sw-1 8 / 10 / 10

Swinging Doors

The recent romantic comedy 'Sliding Doors' postulated what might happen if a character caught, or did not catch, a particular train. But master Polish film maker Krzysztof Kieslowski had had this idea twenty years earlier, and in his film 'Blind Chance', he used it to much more serious purpose: to explore the interplay of chance and character in the fate of a man. At the same time, he painted a picture of Poland in a state of flux (the film was made during the period of martial law, and duly suppressed for five years); and of the way the same moral choices confront everyone, albeit in different forms. The film lacks the high artistry of his subsequent works, but his ability to distill the essence of life into minimalist drama is already much in evidence. The stark awfulness of the communist regime may have aided him in this, as evidenced by the looser, more mystical nature of his final, French-set work. But his greatest achievements, the openly political 'No End' and the perfect morality plays of the 'Dekalog', can each be seen as natural extensions of the themes of 'Blind Chance'. In the film's final scene, an aircraft takes off, but to us, it appears as if it is sinking into the earth. The world of cinema is poorer without its director and his bleak, poetic visions.

Reviewed by bkrauser-81-311064 8 / 10 / 10

An Ambitious Specimen and a Deterministic Dirge

Blind Chance is at once a morality tale, an ambitious specimen of philosophy, and a vacuous deterministic dirge. Within the first thirty minutes we're introduced to Polish medical student Witek Dlugosz (Linda) who is attempting to catch a train to the belabored strings of Wojciech Kilar's soundtrack. He passes crowds and obstacles including a elderly woman and a man drinking a beer. The film then prongs into three possible outcomes, each dramatically changing the young students life. In one scenario he catches the train and becomes a member of the Polish communist party. In another, he misses the train, runs into the railway guard, is arrested and joins an anti-communist student group. In the third scenario, Witek misses the train but bumps into his lady friend Olga (Gozdnik), they live a life of apolitical domesticity before tragedy strikes. I don't feel it's a spoiler to alert the audience that in all three scenarios tragedy strikes. In fact tragedy strikes so often that the fatalism imbued throughout made me wonder what the fellow with the beer was up to. Even the events before the fated train ride has Witek's father passing away. In each scenario Witek comes across three possible lovers and three possible father figures, all of which force Witek to accept a version of truth in bad faith and he always ends up damaged goods. And who is Witek for that matter? What foundations do we have to truly know a person whose deeply felt political beliefs can be so drastically changed by the catching of a train? We get a quiet moment with Witek and love interest #2 Werka (Trybala) where Witek retells the history of his family; how his great-grandfather took part in an uprising or how his grandfather fought the soviets etc. Yet even in a moment of heart-to-heart we're always calculating where Witek's place is in the larger picture, unable to grasp at what would otherwise be an emotional scene. There's a ring of hollowness to everything he does simply because we're always aware he's chained to his fate. He's not so much a character as he is a vessel for Kieslowski's cold and cobbled thought experiment. Thus when we get to the nexus of Kieslowski's political message, the structure with which it's based on falls apart. While being a thought experiment, the film does give it's audience a pretty interesting tour of post-martial-law Poland. In the late 70's and early 80's pro-democracy movements sprouted all throughout the countryside. In 1980, the largest group was Solidarity, a self- governing labor union that at one point constituted one third of the total working population of the country. The single party communist state saw Solidarity and various student movements as threats to their power and on December 1981, Poland banned such organizations, instilled a curfew in major cities and sealed national borders. While martial law lasted until 1983, the resilience of opposition activists led to flagrant and open protests in the mid and late 80's. We all know what happened next. If you're looking for a much more comprehensive history lesson, may I suggest Andrzej Wajda's Man of Marble (1976) and Man of Iron (1981). As it stands Blind Chance's clever inserts of contemporary history are just that, clever inserts. Amid the history and the slow, prosaic plot lies a strong political statement that has been completely undermined by the film's framework. I expected the somber humanism that made the Colors Trilogy (1993- 1994) so engrossing yet what I got was the blunted causal pessimism that similarly plagues A Short Film About Killing (1988) of it's message. Don't fall for the hype on this one.

Reviewed by claudio_carvalho 8 / 10 / 10

Three Lives

In 1981 in the troubled Poland, when the father of the medical student Wietold Dlugosz (Boguslaw Linda) dies, he asks one year leave to the dean of the university to rethink his vocation to medicine. He decides to travel to Warsaw, but while running after the train in the station, three possible events happen. In the first possibility, Witek reaches the train, meets his former sweetheart Czuszka (Boguslawa Pawelec) that belongs to an Anti-Communist underground movement and joins the Party after saving hostages of protesters in a building. In the second possibility, Witek is caught by a guard in the station while running to catch the train and reacts, being sent to the court and sentenced to thirty days of community work. He joins the group of students that are against the system, publishing papers in an underground press. While his comrades are arrested by the government agents, Witek is having a love affair with the sister of a childhood friend and escapes from prison; however, his former companions believe he is a traitor. On the third possibility, Witek does not reach the train and decides to return to the university and conclude the medicine course. He marries his girlfriend Olga (Monika Gozdzik) and they graduate in the medical school. They become successful doctors and Witek accepts to travel to Paris to present the lecture of the dean, who was disgraced with the Party when his son was arrested in a movement against the government. The three serendipities do not bring happiness to Witek. The original "Przypadek" discloses three possible lives of the lead character Wietold Dlugosz in the turmoil of Poland in the early 80's. The beginning of the movie is a little confused and even boring since there is no previous development of the characters or the political environment of Poland in that moment. However, the plot becomes clearer and engaging when Witek runs to catch the train. The first movie that I recall showing alternative life is certainly Frank Capra's "It's a Wonderful Life" (1946). However, Krzysztof Kieslowski uses a totally different context in his story, but later in 1998, Tom Twyker with "Run Lola Run" and Peter Howitt with "Sliding Doors" made rip-offs of Kieslowski's idea. This theme is very attractive since most of the people have certainly had at least one daydream supposing what if he or she had made a different choice in life in the past. My vote is eight. Title (Brazil): "Acaso" ("Chance")

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