A Short Film About Love (1988)

The film is phenomenal, as I could expect from Kishofsky. What I like most about him? As a first- action, which is always unexpected, no reaction of the characters as they would normally expect. Another thing, the combination of scenes from the beginning and end of the movie. Full of emotions, but emotions expressed again in a specific Kishlofsky style. For example, so that everyone reacted to the young, innocent, love one year into one person, and now she asks him, will you kiss me? Would you like to make love with me? Would you like to go away together? For all the answer is-NO. Why? Boy was burned, burned and blown. His love became his condition, his life. Kishlofsky-genius.

Before he stormed world cinema consciousness in the 1990s with the Three Colors trilogy (Blue, White, Red), the Polish genius Krzysztof Kieslowski directed a series of 10 short films for Polish TV collectively known as Dekalog. Based loosely on the ten commandments, two of these short films were later expanded to full length features. A Short Film About Love is one of them. A tale about a boy spying on and falling obsessively in love with an attractive older woman living across the street is compelling viewing. What, in lesser hands could well have been a ho-hum peeping tom movie, is turned by Kieslowski's sensitivity and understanding into a thing of beauty and radiance. An absolute gem. Watch it if you can — it will be an hour and a half well spent!

A gripping and intriguing story about loving someone from afar. This is one of those films that I randomly pick up from whatever thread I come across, and now, having seen it, I am really surprised that it's mostly unknown. From the late Polish director Krzysztof Kieslowski---I know, good luck on pronouncing his name, this is the extended version of the sixth episode of The Decalogue. Tomek is nineteen years old, a single guy who works in a post office. Every night, he spies on Magda, a middle-aged woman who lives in the building across. He falls in love with her and decides to profess his love one day after seeing her cry the previous night. At first, Magda doesn't take him seriously and she eventually hurts him. What follows after is both tragic and moving. This film is really spell-binding, from the powerful human emotions it displays to its sincere silent moments. It is a true gem of cinema, a special story waiting to be told. The characters are very real and the emotions they convey very honest. The obsession and the desperation felt by the protagonists are simply too painful to watch. This film is not readily available to some but it is worth every second of searching.http://iwascalledclementine.multiply.com/reviews

The only criticism I would have of this enthralling Polish language film by the great Polish-French director Krzysztof Kieslowski is his use of the "opened window" conceit. Magda (Grazyna Szapolowska) is a woman who lives alone in a high rise housing development. She is sexy and cynical to the point of not believing in love. To her it is all desire, and the fulfillment or frustration of desire. Across the way from her lives a virginal young man by the name of Tomek (Olaf Lubaszenko) who has been spying on her from his apartment window through a telescope.He lives with a friend's mother (Stefania Iwinska) who looks after him as her own son. He works in the post office and obsesses about Magda's life. He watches her with her beaux. He even goes so far as to write a couple of phony money order slips for her and put them in her mailbox just so she will have to go to his window and ask about them. When she does he is able to examine her features closely. Is his an obsession or is it love? Kieslowski's answer is that it is love, love with the kind of depth and feeling that Magda cannot even imagine until she experiences it. And then she is amazed and dumbfounded.The key scene in the movie occurs when Tomek is finally able to be together with the object of his love, in her apartment, with her telling him that "When a woman wants a man she gets wet inside." And she invites him to check it out, so to speak. But what happens does not lead to any kind of fulfillment. Instead Tomek is inadvertently humiliated.And that's the story, more or less. As usual with Kieslowski, human feelings predominate and are stark and one might say conflicted--the conflict arising between humankind's baser instincts and the more civilized ones of society. What he does here is turn the stalker into the saint, in a sense, and the object of his love into something unworthy of that love.The question might arise: is it realistic to believe that a woman would leave her windows open and her lights on for all to see inside while she goes about her private life? No, it isn't. But we have to accept this device. After that the film is fully realistic to the point of even being mundane in its depiction of middle class city life. The characters are ordinary and even a little boring except for Tomek's supreme obsession. It is this "jewel" in the heart of the Polish city that lifts his life and her life above the ordinary. Even though we know that she is too old and too world-weary for him and that he is too hopelessly young and inexperienced for her for lasting love to ever bloom between them, we cannot help but think how wonderful it would be if we could all feel as he does, or be the object of such love.Usually when this theme is worked out it is the obsessed who suffer greatly, it is the obsessed who are to be pitied--and we do to some extent feel something close to that for Tomek. But here it is Magda who we end up pitying the more because of her inability to love. Compared to Tomek she is a deprived creature who will never find true happiness--unless she learns this lesson she has gotten from this young man whose passion for her was unlike anything she had ever experienced before.And this is Kieslowski's point: it is not only better to have loved and lost than never to have loved at all. It is only through love that we can truly identify with another human being. We see this in the scene where Madga is looking through Tomek's telescope into her apartment window and recalling what he had seen one day, the day that she had come home and spilled the milk and sat at the table crying over that spilled milk (very typical of Kieslowski to use such an obvious, but telling and entirely apt cliché) after a breakup with one of her boyfriends. In memory she sees Tomek looking at her crying and running her finger through the spilled milk, and she realizes the depth of his commiseration with her and his love for her, and in her mind's eye she sees him beside her (as he truly was psychologically) with his hand on her shoulder and love in his heart.We might think that at some other time she will look back on a relationship she had had in her life and realize that the failure was due to a lack of love on her part. Indeed she more or less reveals that to us when she tells Tomek's "Godmother" that no, she is not the right person for Tomek. We know that she is too cynical and would only use him temporarily for gratification, and that would be all.But I was left with the sense that Magda would indeed learn from her experience and would be transformed. There is this sense of hope and the possibility of emotional and spiritual growth that is often seen in the films of Krzysztof Kieslowski.(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)