"Dekalog" Dekalog, dziewiec (1990)

Calificación de los usuarios:

8.2/10   

Director:

Krzysztof Kieslowski

Escritores:

Krzysztof Piesiewicz (written by) &
Krzysztof Kieslowski (written by)

Series de televisión:

"Dekalog" (1989)

Fecha de lanzamiento original:

29 junio 1990 (Temporada 1, Episodio 9)

Género:

Drama

Plot:

"Thou shalt not covet thy neighbour's wife". Roman, after discovering his impotence, urges his wife Hanka to take a lover...

Plot Keywords:

Polish

Comentarios de los usuarios:

Moribund Melodramatic Over-reaction

Reparto

Ewa Blaszczyk	...	Hanka
Piotr Machalica	...	Roman
Artur Barcis	...	Bicyclist
Jan Jankowski	...	Mariusz
Jolanta Pietek-Górecka	...	Ola
Katarzyna Piwowarczyk	...	Ania
Jerzy Trela	...	Mikolaj
listado alfabético del resto del reparto:
Renata Berger
Malgorzata Boratynska
Jolanta Cichon
Janusz Cywinski
Slawomir Kwiatkowski
Dariusz Przychoda

También conocida como:

"Dekalog": Decalogue Nine: Thou Shalt Not Covet Thy Neighbor's Wife (#1.9) (International: English title)
"Dekalog": Dekalog, dziewięć (#1.9) (Poland)
"El decálogo": No desearás la mujer de tu prójimo (#1.9) (Argentina) [es]

Duración:

58 min | USA:60 min | Argentina:60 min

País:

Poland

Idioma:

Polaco

Color:

Color

Sonido:

Mono

Clasificación:

Argentina:16

Locaciones de Filmación:

Warsaw, Poland

Compañía:

Sender Freies Berlin (SFB)

Conexiones de Película:

Referenced in Trois couleurs: Rouge (1994)

Moribund Melodramatic Over-reaction

Surgeon reacts to a diagnosis of impotence as if it were a terminal illness, urging his wife to take a lover and plunging into suicidal depression. His wife, however, is willing to live with the diagnosis and swears to a love above and beyond sex, which he rejects, at first; the movie is about his struggling with and final acceptance of this Platonic ideal. Jealousy leads him to spy on and covet his own wife, ergo the commandment. But this only humiliates him further. In a parallel, somewhat superfluous plot, a young female patient asks his advice about a risky operation which would enable her to sing, her life's dream. Both face the same dilemma of whether or not to accept a physical limitation which deprives them of their life's passion. Unlike him, the young woman is willing to live with her disease and forego singing. He changes her mind.

I thought the surgeon and the film, both, over-reacted to the diagnosis, assigned too much weight to it. The melodramatic lack of perspective makes the movie as moribund as its subject matter. Of course, it's amply color coded; the passing stranger in white rides by again; and, again, there's lapse of credibility: the surgeon shares a cigarette with the patient who is supposed to have a disease so debilitating as to prevent her from singing--this makes no sense. But, once again, K. knows how to make the final scene count, canceling earlier shortcomings, at least for a moment.

Overwrought arty soap opera.

By this stage of the series one is right to be more than a little weary and wary of having the same heart strings tugged on to play the same melancholy tune.