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The Devil / Diabel (1972) [Re-UP]

Posted By: Someonelse
Date: 31 Jul 2015 16:58:00
The Devil / Diabel (1972) [Re-UP]

The Devil (1972)
A Film by Andrzej Zulawski
DVD5 | VIDEO_TS | NTSC 4:3 | 01:58:52 | 3,88 Gb
Audio: Polish AC3 2.0 @ 192 Kbps | Subtitles: English
Genre: Horror, Art-house

Director: Andrzej Zulawski
Stars: Malgorzata Braunek, Michal Grudzinski, Iga Mayr

A political allegory wrapped in the guise of a gory horror film, Andrzej Zulawski s THE DEVIL did not escape the wrath of communist censorship. The film was banned in Poland for 15 years, before getting a sporadic release in 1987
Jakub (Leszek Teleszynski), a young 18th century nobleman, rots in prison for conspiring against the king. A mysterious stranger frees him, but in exchange he demands a list of Jakub's fellow conspirators. Jakub follows the stranger on a journey across a nightmarish, snowbound countryside where they witness countless acts of brutal violence. Affected by the overall chaos and moral corruption, the young nobleman descends into madness.
THE DEVIL is a lost treasure of Eastern European cinema and a unique addition to the horror genre.

IMDB | Wikipedia | Rotten Tomatoes | Wonders in the Dark

What is that paranoia we often feel in a room full of strangers? Some of us do our best not to be noticed, some of us make our best effort to be noticed; either way, there is a steady stream of doubt circulating through our veins in that moment. Now, imagine you find yourself as a stranger in your own home. The faces are all familiar, but they are jagged and cold now, like sharp stone mock-ups. What does one do? Well, in The Devil the main character is deceived into retreating into the darkness he had come to befriend in war. It is warm and inviting, with a brilliant sense of humor.

The Devil / Diabel (1972) [Re-UP]

The film is based entirely on perception – that is, the main character’s perception of his home, and the once-familiar people in it. He is a soldier, weary and beaten down. He is constantly stalked and prodded by a colorful menace who acted as his savior in the beginning, but we discover his true ambition as the film progresses. The main character is shocked and distraught by what his home has become. The woman he loves is a broken stranger. His friends are cruel and cold. His father is dead, his sister, a vague mystery, and his estranged mother, a villain. Perhaps though, it is not the surroundings that changed at all for our protagonist – perhaps it was he who has changed. The darkness of war and fear has torn his perception to shreds, and the dancing menace that stalks him is his mocking conscience.

The Devil / Diabel (1972) [Re-UP]

Each scene unfolds like a fever dream. The main character stumbles from one scene to the next like he was moving through a funhouse. It is visceral and manic. It is the type of film the viewer doesn’t so much remember visually, but more as a mood or feeling

Zulawski peppers his films with theatrically over-the-top explosions of emotion. It is as if he is trying his best to skew our outer, dignified, socially accepted expressions of emotion, and portray the true beast of expressions that is wildly thrashing internally. It seems that if Zulawski could get away with it, all of his films would be violent splashes of color, and crazed wind storms uprooting trees, and ripping roofs off of houses.
Sound on Sight
The Devil / Diabel (1972) [Re-UP]

At the climax of Harold Pinter's vaguely allegorical but wholly chilling play The Birthday Party, the broken hero is being taken away by strangers, no doubt to a bad place. The locals, who have no idea what sort of political act of terror is being committed, stand by helplessly, but one of them rises and says, "Stan, don't let them tell you what to do!" Even though Pinter never makes a specific point of reference as to what deplorable regime is imposing its will, the viewer intuitively understands the message. So it is with Andrzej Żuławski's The Devil. International audiences unfamiliar with Polish politics might not know or care that his horror film was based on actual events from the turbulent 1960s, during which communist authorities provoked a group of Warsaw students into staging anti-censorship protests. This gave the powers that be an easy excuse to crack down on dissidents, leading to mass arrests and, in the process, striking a blow for free speech. Żuławski used this incident as the basis for his film, hiding it in costumes and throwing in a monster, but he doesn't depend on viewer familiarity with a specific incident; instead he paints a world of fear, oppression, and suppressed outrage that could happen anywhere, anytime.

The Devil / Diabel (1972) [Re-UP]

When Żuławski filmed The Devil, he told the Polish authorities he was making a period film set in the 18th-century, when the Prussians were invading Poland and killing everyone wholesale. The film opens during a hysterical prison break where a shell-shocked, brooding young man named Jakub (Leszek Teleszynski) is led away from captivity by a grinning, vaguely satanic man in black (Wojciech Pszoniak). Everyone around them is shrieking in hysteria, frantically trying to escape or wish themselves elsewhere, and moments later soldiers appear blasting everyone in sight with their muskets. Jakub and his strange benefactor take flight across a bleak, war-torn winter landscape with a hostage nun (Malgorzata Braunek), encountering madmen, theater troupes, and nymphomaniacs along the way. Of course, the authorities watched The Devil, realized exactly what Żuławski was up to, and promptly banned the film for 17 years.

The Devil / Diabel (1972) [Re-UP]

Whether taken as a historical drama or a horror film, The Devil is unabashedly a parable about misappropriated anger against the forces of evil. Jakub is led home by his dark-clad benefactor, only to discover that everything has taken a turn toward the rancid and horrible. His father has committed suicide, his mother has transformed into a prostitute, his sister has been driven insane, and his fiancée has been forced into an arranged marriage with his best friend, who has turned into a political opportunist and turncoat. Leading him through this world turned upside down is the man in black, who continually whispers sarcastic platitudes in the hero's ear and inciting him to acts of extreme violence. Żuławski, whose films reach unparalleled heights of vitriolic insanity, stages elaborate sequences with Jakub either throwing himself into fits of rage or sinking into narcoleptic despair, and the man in black—the true devil of the movie, who even transforms into a literal werewolf at one point—ruthlessly egging him on toward oblivion.

The Devil / Diabel (1972) [Re-UP]

Imagine Network's Howard Beale, pumped up on amphetamines and two tons of cocaine, and wielding a straight razor when he proclaims, "I'm mad as hell and I'm not gonna take this anymore!" That's the height of misappropriated righteous anger Żuławski pitches his film at, and as Jakub slaughters at least a dozen or more people in the final third of the movie, one sees just how far a human being can be pushed or manipulated in the name of duty and honor. It's appropriately repulsive and uncomfortable, and for an American audience a good reminder of how often we revel in the cinematic glory of macho "good guys" killing "bad guys" as the solution to life's complex problems. What's especially sad is that this attitude, reflected in the movies, is all too often the black-and-white solution proposed by the powers that be in, say, Vietnam and Iraq, and one that results in perpetuating even more unaccountable horror. As Charles Mee wrote in his play The Trojan Women 2.0, "Why is it [that] at the end of war the victors can imagine nothing better than to remake the conditions that are the cause of war?"

The Devil / Diabel (1972) [Re-UP]

Żuławski, like Roman Polanski, was born into a world of bombs dropping overhead, and he was one of the few children in his family to survive WWII. No doubt, it's easy for him to re-imagine the contemporary world as a place of shifting allegiances and untrustworthy moral platitudes. As usual for his films, the camera hurtles vertically across rooms and fields and spirals around as the actors pitch their performances at maximum volume. Society for Żuławski is just a thin veneer used to disguise the horrible sadism and unhappiness lurking inside every human heart. The Devil would make for maudlin, depressing viewing if every scene didn't feel like explosions were being set off, sending the inmates of a madhouse free into the streets outside.
Slant Magazine
The Devil / Diabel (1972) [Re-UP]

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