The Decalogue: Season 1, Episode 9

Decalogue Nine: Thou Shalt Not Covet Thy Neighbor's Wife (29 Jun. 1990)
"Dekalog, dziewiec" (original title)

TV Episode  -   -  Drama
8.2
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Ratings: 8.2/10 from 1,568 users  
Reviews: 8 user | 11 critic

"Thou shalt not covet thy neighbour's wife". Roman, after discovering his impotence, urges his wife Hanka to take a lover. She reluctantly complies, and Roman, despite his earlier words, ... See full summary »

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Title: Decalogue Nine: Thou Shalt Not Covet Thy Neighbor's Wife (29 Jun 1990)

Decalogue Nine: Thou Shalt Not Covet Thy Neighbor's Wife (29 Jun 1990) on IMDb 8.2/10

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Cast

Episode complete credited cast:
Ewa Blaszczyk ...
Hanka
Piotr Machalica ...
Roman
Artur Barcis ...
Bicyclist
Jan Jankowski ...
Mariusz
Jolanta Pietek-Górecka ...
Ola
Katarzyna Piwowarczyk ...
Jerzy Trela ...
Mikolaj
Rest of cast listed alphabetically:
Renata Berger
Malgorzata Boratynska
Jolanta Cichon
Janusz Cywinski
Slawomir Kwiatkowski
Dariusz Przychoda
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Storyline

"Thou shalt not covet thy neighbour's wife". Roman, after discovering his impotence, urges his wife Hanka to take a lover. She reluctantly complies, and Roman, despite his earlier words, becomes obsessively jealous. Spying on her, he learns of her affair, and vows to kill himself - not knowing that Hanka was in fact breaking off the relationship... Written by Michael Brooke <michael@everyman.demon.co.uk>

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29 June 1990 (West Germany)  »

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Referenced in Three Colors: Red (1994) See more »

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User Reviews

 
The finest piece of cinema in the Decalogue
28 December 2005 | by (United States) – See all my reviews

I notice that not too many people have commented on Decalogue Nine. I find this remarkable, but I think it might be because not too many people get this far in the series. From a writing standpoint, the best of the series are in the middle (I would say, maybe, 3, 5, and 6), but from a cinematic standpoint, Nine is the best. It predicts a lot of the trick film-making he would go on to do in Trois Couleurs: Bleu. Take note particularly of the shots through glass and the on the elevator in which the characters act in a scene somewhere between strobe light and slide show. All of this is not to say, however, that the writing or acting in this one are sub-par. In fact, the man who plays the doctor is remarkable and, like all of the films, there is a powerful ambiguity in which Kieslowski and Piesiewicz seem to, at once, take the commandments with a grain of salt and look upon them with the utmost seriousness.


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