Episode 9- Thou shalt not covet thy neighbor’s wife

The ninth episode of The Decalogue by Kieslowski represents the commandment, “Thou shalt not covet thy neighbor’s wife.”  Unlike many of the previous episodes, this episode deals with this specific commandment first hand.  Kieslowski used a married couple as the main characters, but brought in a few outside characters to represent the coveting which was present throughout this film.  At the beginning of the film, the main character Roman discovers he is impotent.  He and his wife, Hanka, talk about this issue, and he realizes that his wife should take on an outside lover to satisfy her sexual needs.  However, she rebukes that idea, remaining faithful to Roman.  Throughout the film, Roman discovers that Hanka has actually taken on a secret lover.  Although Roman wished that for her in the beginning, he becomes jealous and hurt from this affair.  Hanka eventually breaks off the affair, but Roman was not aware of this, and consequently made an attempt at suicide.  After surviving that attempt, he learns that Hanka truly broke off the affair and realizes her love for him.

Throughout the film there are many visual tropes and cinematic devices that add to the suspense and meaning of the film.  First, there is one visual trope of a man riding a bike towards the beginning of the episode.  During one scene, after Roman learns he is impotent, he drives off the road due to his frustration with the issue.  The man on the bike rides by looking at Roman, yet continues to walk away.  During another scene towards the end of the movie, Roman drives his bike off a cliff, concluding his attempt at suicide.  The camera shows Roman lying there on the ground unconscious.  Then it shows the same man we saw before, riding his bike.  He looked down at Roman, yet continued to ride by.  This man on the bike can symbolize many things.  He can represent the undying issue at hand that simply will not go away (Roman’s impotency); he can represent the fact that Roman just has to let go of this issue and “ride away” or get over his problems; or he could simply represent the constant intruding of the man that is interfering Roman and Hanka’s relationship (the man that Hanka is having an affair with).  Regardless of the meaning, Kieslowski used this man on the bike to represent a visual trope throughout this particular episode.

Another visual trope that occurs many times throughout the film is the glove box in Roman’s car.  Many times, when the scene is depicting a serious contemplative moment, the glove box pops open.  There were also scenes where the glove box would not shut after a few attempts at shutting it.  This is a visual trope because it not only occurs during those specific moments throughout the film, but also because it is trying to convey an important message.  This message was not particularly clear, but it was clear that it was meant to be portrayed as a symbol.

Also throughout the film were many cases of cinematic devices that added to the message of the film.  Kieslowski used specific camera work in order to carry out and highlight specific scenes that are important for the dramatic story.  For example, one scene depicts a conversation between Roman and Hanka.  During the scene, the camera is focused on Hanka’s face, and the viewer can see Roman’s blurry back.  However, the camera is also focused on a mirror directly behind Hanka which allows to viewer to see Roman’s face reflected through the mirror.  This specific cinematic device not only allows the viewer to see both faces throughout the conversation, but it allows us to recognize their facial expressions as they carry out their conversation.  This is important to the film because it contributes to the emotional effect it has on the characters, in turn pulling the viewers closer to the plot and message of the film.

This episode particularly concerns the issue of coveting thy neighbor’s wife, which is exactly what the title of the episode portrays.  Although the viewer would think that the plot would be concern Roman coveting another man’s wife, this is not so.  The main plot focuses around the fact that another man is coveting his own wife.  Kieslowski uses a specific narrative pattern that allows to viewer to see the plot through the husband’s eyes; through the eyes of the man that is being cheated on.  This creates emotional opinions for the viewer.  It allows the viewer to pity Roman, and to feel bad for what is happening to him.  Although Kieslowski takes a different turn to the commandment of coveting thy neighbor’s wife, I think he succeeded in portraying his message.