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Success Is the Best Revenge (1984)

R  |   |  Drama  |  23 May 1984 (France)
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Ratings: 6.2/10 from 137 users  
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Poland is under communist rule. An exiled Polish theater director is in England, enthusiastically preparing an abstract play which will criticize the authoritarian Polish government. His sons might not share his political views, though.



(scenario), (scenario) (as Michael Lyndon) , 3 more credits »
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Cast overview, first billed only:
Alex Rodak
Joanna Szczerbic ...
Alicia Rodak
Michal Skolimowski ...
Adam Rodak (as Michael Lyndon)
Józef Skolimowski ...
Tony Rodak (as Jerry Skol)
French Official
Monique des Fontaines
Dino Montecurva
Chinese Waiter
Claude Le Saché ...
Monsieur Conio
Assistant Stage Manager
Hilary Drake ...
Stage Manager
Bank Manager
Adam French ...
Sam Smart ...
Tim Brown ...


Poland is under communist rule. An exiled Polish theater director is in England, enthusiastically preparing an abstract play which will criticize the authoritarian Polish government. His sons might not share his political views, though.

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Motion Picture Rating (MPAA)

Rated R for some sexuality/nudity | See all certifications »





Release Date:

23 May 1984 (France)  »

Also Known As:

El éxito es la mejor venganza  »

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, ,  »
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Last cinema film of Guy Deghy. See more »

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User Reviews

20 April 2004 | by (Mountain Mesa, California) – See all my reviews

Director Jerzy Skolimowski has become the foremost cinematic chronicler of the politics of exile for expatriates from Poland, chiefly those living in England, and this author of the screenplay for Roman Polanski's marvelous KNIFE IN THE WATER has additionally developed a highly kinetic directoral style that visually dashes every which way. In this feature, Skolimowski exploits a favourite gambit, unresolved blending of fantasy with reality, while also fashioning a strongly political theme, to demonstrate how an encounter with vendibility can convert idealism into hypocrisy and dispassion. Michael York portrays Alex Rodak, a theatre director exiled in London, with his wife and two sons, where he hopes to emulate the aesthetic and commercial success that he attained upon the Continent, notably in France, despite financial deficiencies that are growing apace. He is relying upon a benefit show, that he will be staging in a West End theatre, to create a large base of support for a dissident Polish subculture opposed to a repressive Warsaw regime that has become reliant upon imposition of martial law, but his increasing need for funding generates strain between Alex and his family, in particular with his oldest son Adam, played by Michael Lyndon. Respective cultural and identity crises plaguing Alex and Adam have become correlative, since the younger Rodak resents his father's dependence upon capital in order to stage what is planned as an abstract drama because Adam believes that Poland would welcome more a diaspora of patriots. Sadly, the time in which this review may be read is about equal to the amount of comprehensible narrative offered in this production, due to an extraordinary engulfment of meaning by Skolimowski who tenders a perpetual gathering of imagery, certainly never dull in itself but having an exhaustive effect upon a viewer by reason of an unduly complex structure whereby it becomes virtually impossible to fathom precisely what might be occurring. No character as presented displays virtue, with but Jane Asher's role with her single scene seeming to be clearly defined, probably as a result of its linear nature; first-class work with the camera by Mike Fash in addition to creative editing and sound design by Barrie Vince are insufficient to offset a nearly complete reliance upon form over substance.

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