About Zanussi's 'Silent Touch' (2/16 screening)
The rest of the cast was impeccable, too: a dutiful, subservient wife played by a british actress, page-like-worshiping Polish music student played by a French-Canadian and an enthusiastic, bubbly young musicologist/secretary/lover, of course - all good fun to watch. The finished symphony was played and the love-child was born. But, I agree with Ewa Bienczycka, who said 'so what?' in her pre-movie comments (see below the previous post).
To me, the plot was highly predictable and tad misogynic, too boot: everybody serves the genius-artist-master, for a greater good - the old issue of art versus life gets good airing. The greater good was one Wojciech Kilar's symphony, played at the movie's end in an upscale concert-hall, and 'interviewed for the masses' by a blond-hair/fake-eyelashes journalist (kudos for Beata Tyszkiewicz for a perfect phony news anchor) . The symphony, or the extend we heard of it, was a nice piece, but hardly a show stopper.
I read somewhere that this film was supposed to be Zanussi's big come-back in early 90s - after great movies of 60s and 70s the filmmaker was hit with something of a dry spot in 80s; I also read that it was well received when it came out in 1993 and widely seen as such. Perhaps my personal expectations were too high, and I should have headed advice in NYT review : '[...]"The Silent Touch" should not be analyzed too closely.[...]', instead of expecting another 'Struktura Krysztalu'.
I missed the OKO discussion after screening, as my lungs were exploding (which might have colored my perception, too), but before I run out I heard that most people liked the movie, so hopefully Rysiek, who took over at that point, reports about after-the-film talk and counters my uncharitable opinion...