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Success Is the Best Revenge (1984)

R | | Drama | 23 May 1984 (France)
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.

Director:

Jerzy Skolimowski

Writers:

Jerzy Skolimowski (scenario), Michal Skolimowski (scenario) (as Michael Lyndon) | 3 more credits »
Reviews
1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Michael York ... Alex Rodak
Joanna Szczerbic ... Alicia Rodak
Michal Skolimowski Michal Skolimowski ... Adam Rodak (as Michael Lyndon)
Józef Skolimowski Józef Skolimowski ... Tony Rodak (as Jerry Skol)
Michel Piccoli ... French Official
Anouk Aimée ... Monique des Fontaines
John Hurt ... Dino Montecurva
Ric Young ... Chinese Waiter
Claude Le Saché Claude Le Saché ... Monsieur Conio
Malcolm Sinclair ... Assistant Stage Manager
Hilary Drake Hilary Drake ... Stage Manager
Jane Asher ... Bank Manager
Adam French Adam French ... Martin
Sam Smart Sam Smart ... Mallett
Tim Brown Tim Brown ... Professor
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Storyline

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.

Plot Summary | Add Synopsis

Genres:

Drama

Motion Picture Rating (MPAA)

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

Country:

France | UK

Language:

English

Release Date:

23 May 1984 (France) See more »

Also Known As:

El éxito es la mejor venganza See more »

Filming Locations:

London, England, UK

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Technicolor)
See full technical specs »
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Did You Know?

Trivia

Last theatrical movie of Guy Deghy (Angry Old Man). See more »

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User Reviews

 
EXCESSIVE EFFORT MUST BE EXPENDED IN ORDER TO UNDERSTAND IT.
20 April 2004 | by rsoonsaSee 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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