As we progress through this series of films by Krzysztof Kieslowski, his mastery of pace, lighting, and character development become increasingly evident. Episode VII continues to show his powerful storytelling techniques. He uses several tropes to really rope us into the emotion and conflicted nature of the characters in this film.
This episode revolves around a small family of four: Majka, Ania, Ewa, and Stefan. Each character is developed rapidly, yet thoroughly in ~60 minutes. Majka is the central character, initially Ania's sister, but later revealed to be her mother. Ewa is the overprotective mother of both girls, who later is revealed to be Ania's grandmother. Stefan is depicted as the rather aloof father figure in the film, as he seems to tune out the noise created by the three women in his life by tinkering with a pipe organ.
Kieslowski uses a rather quick pace in this film to relay a lot of information quickly about his characters, but not so that it feels hurried. The pace is a wonderful balancing act, allowing us to glean the necessary information and at the same time develop a connection to the characters.
An auditory trope that is essential to the plot is the sound of little Ania crying in the middle of the night due to nightmares. Majka's lack of confidence in waking and consoling Ania is one of the factors that lends to the thought that perhaps Ania would be better off with Ewa. There is a definite rift between Majka and Ewa as the two compete for the "real mom" title.
This rift is the catalyst for the Majka's kidnapping of Ania. She is portrayed as a thief, but a kind of good thief. She takes Ania to a carousel immediately after kidnapping her, and initially one might think she's simply playing a prank on her mother, intending to return once she's had her fun. We quickly realize that's not the case as she attempts to reconnect with Ania's father and start anew with him. When this doesn't pan out, she attempts to flee to Canada.
Majka's theft of Ania is a sort of punishment for her mother. Majka felt as though she had been robbed of motherhood by her own mother. In a sense, she was merely restoring what had been taken from her in the first place. It is this powerful sense of restoration that makes the kidnapping seem justified. However, Ewa truly loves Ania and wants the best for her, so we are torn between who deserves her. The situation is evocative of the two women before King Solomon in the Bible.
Kieslowski has Ania caressing, holding, and sleeping on her "new" mother. This trope is carried throughout the film and is crucial to the last sequence. When Majka realizes that she has failed to escape from her mother with Ania, she makes a rash decision to board the train and flee by herself. The sequence at the train depot uses a variety of shot compositions and various angles to draw us into the emotion of these final moments. When Majka chooses to leave, I believe she is kidnapping herself, in a sense. Majka commits the greatest theft of all, robbing her daughter of her true mother.
I would say its Ewa that commits the greatest theft of all, she is robbing Ania from her true mother.
ReplyDeleteI think the episode should be called "Thou shall not lie". Ewa lies to Majka that the she only wants to cover up the scandal, when in fact she wants to take Ania away from Majka. She is so delusional that she deceives her granddaughter making Ania believe she is her real mother. She lies to herself thinking that her action will have no negative consequences.
ReplyDeleteEwa is the most destructive, evil person here. She shows no love towards Majka during Majka's childhood focusing on her career instead. That way Ewa is punishing Majka for robbing her of ability to have more children. Later, instead of teaching Majka how to take care of Ania, Ewa pushes Majka away and tells Majka to get out. She comforts only one child. She doesn't perceive how destructively she acts.
After yet another rejection Majka takes a drastic action. She wants to undo Ewa's lie by telling Ania who her real parents are. When Wojtek again refuses to back up Majka she knows that only way that truth will stand is for her to separate herself from Ewa and flee to Canada. She knows that if she remains in Poland, Ewa will find a way to manipulate Ania.
Even after she admits defeat, Ewa only cares for her granddaughter. She doesn't go after Majka. She doesn't put her arms around her same way she does with Ania. She realizes her lie after it is too late. Keeping up appearances differs from betraying your own child.