The Scar (1976)

1970. After discussions and dishonest negotiations, a decision is taken as to where a large new chemical factory is to be built and Bednarz, an honest Party man, is put in charge of the ... See full summary »

Director:

Krzysztof Kieslowski

Writers:

Krzysztof Kieslowski (scenario), Romuald Karas (novel)

Stars:

Franciszek Pieczka, Mariusz Dmochowski, Jerzy Stuhr

2 wins & 1 nomination.

Cast

Cast overview, first billed only:
Franciszek Pieczka	...	Stefan Bednarz
Mariusz Dmochowski	...	Vorsitzender
Jerzy Stuhr	...	Bednarz's assistant
Jan Skotnicki
Stanislaw Igar	...	Minister
Stanislaw Michalski
Michal Tarkowski	...	TV editor
Andrzej Skupien
Halina Winiarska	...	Bednarz's Wife
Joanna Orzeszkowska	...	Eva - Bednarz's Daughter
Jadwiga Bryniarska	...	(as J. Bryniarska)
Agnieszka Holland	...	Secretary (as A. Holland)
Malgorzata Lesniewska	...	(as M. Lesniewska)
Asja Lamtiugina	...	(as A. Lamtiugina)
Ryszard Bacciarelli	...	(as R. Bacciarelli)

Storyline

1970. After discussions and dishonest negotiations, a decision is taken as to where a large new chemical factory is to be built and Bednarz, an honest Party man, is put in charge of the construction. He used to live in the small town where the factory is to be built, his wife used to be a Party activist there, and he has unpleasant memories of it. But he sets to the task in the belief that he will build a place where people will live and work well. His intentions and convictions, however, conflict with those of the townspeople who are primarily concerned with their short-term needs. Disillusioned, Bednarz gives up his post.

---

Plot Keywords:

poland | 1970s | communist poland | chemical plant | satire | 

---

Genres:

Drama

---

Certificate:

Not Rated

Details

Country:

Poland

Language:

Polish

Release Date:

18 August 1978 (East Germany)

Also Known As:

The Scar

Filming Locations:

Olechów, Lódz, Lódzkie, Poland

Company Credits

Production Co:

Film Polski, P.P. Film Polski, Zespól Filmowy "Tor"

Technical Specs

Runtime:

106 min

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.66 : 1

Did You Know?

Connections

Edited into Slate (1976)

User Reviews

In the name of progression, in spite of ecology

Krzysztof Kieslowski became a highly appreciated art-house director in Europe when he made his TV-series about The Ten Commandments, "Dekalog" (1989). Later on, in the 1990's he directed The Double Life of Veronique and The Three Colours trilogy, which confirmed his position in the international art-house. As most filmmakers do so did he start by making documentaries, then he made two films for the Polish television and after that his first film for the big screen, Blizna (The Scar, 1976).

Kieslowski himself called the film horrible. He criticized its screenplay and categorized the film as socialist realism. He probably saw something I can never be able to see; something that only the one who made the film could see. Blizna is a realistic film about a socialist society, but socialist realism was never even close to realism. It's full of that blind optimism which Stalin so idealized. But Kieslowski's film, Blizna, is incredibly pessimistic: it shows how socialism works, how it doesn't work, how it cannot work and how it's impossible for anyone to make a change in a society like that. However, one shouldn't feel that Kieslowski was a man cheering for individualism, market economy or economic liberalism. He always called himself unpolitical and criticism for the new, capitalist Poland can be seen in his later film Three Colors: White (1993).

Blizna is a story about a corporation which decides to build a new factory in spite of ecology, or the people living in the area. They choose a man with a family to lead the project. Quickly he reveals to be a man who takes responsibility and tries to finish the project with honor. He soon starts to see the flaws of the project, where moral is only one defect. In his journey through Machiavellist politics he finds making a change incredibly difficult.

The authorities of Poland didn't ban Blizna, but they treated it badly, and basically no one saw it until the producer of The Three Colours trilogy brought a bunch of films from Kieslowski's early career to the screen. Having seen Blizna today, it might have partly lost its grip, since it is tightly tied to its own time. The 1970's can be seen in just about everything: in the style, in the narrative, in the dialog and in the costumes. This isn't a bad thing, by any means, but Blizna certainly isn't a timeless classic. But what it is, is a good description of it's time. It shows how Poland worked in the 1970's under the socialist government; how it did not worked. Kieslowski said in his interview book, Kieslowski on Kieslowski by Danusia Stok, how sad it is that no one takes responsibility on what happened during the era -- not even today.

Blizna is very pessimistic and has got inconsolable despair. It shows how impossible it was to make a change in Poland and how hopeless the era was. To put it briefly, it's a satirical description of the authorities of Poland. It is funny, political, pessimistic and very interesting for those who love Kieslowski, European art-house or are interested in history of the 20th century.