"Thou shalt not take the name of the Lord thy God in vain". An elderly doctor is approached by a woman with a complicated request. Her husband is gravely ill and may die, and she is ...
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"Thou shalt not take the name of the Lord thy God in vain". An elderly doctor is approached by a woman with a complicated request. Her husband is gravely ill and may die, and she is pregnant by someone else. If her husband dies, she wants to keep the child, but not otherwise, and she wants the doctor to give him an honest verdict on his chances. But the doctor is disturbed by her request, because his answer will directly affect the life or death of another human being. Is he entitled to play God?Written by
Michael Brooke <email@example.com>
This is Kieslowski doing Bergman and trying to make the walls elusive.
It's the elusiveness at the end that makes it worthwhile, the rest is drab. Kieslowski doesn't ground the images as well as he would in Dekalog 6 but it's driven by the same notion of dreamlike inhabiting. The dying husband comes to again, in a magical way expressing his blessing for a love that may not be there, or is it? Is it her dream where he absolves her to give birth to a love that goes forward?
Kieslowski is sketching with these Dekalogs, they're over just as they would flow off the edge of boundaries and he keeps most of it inside, but he's sketching close to the heart that makes life fluid again. Maybe it's where he apprenticed for Three Colors where I have my sights on already.
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