"The Conductor" *** (out of ****)Don't underestimate the power of music. Music has the ability to transcend political, economic and social differences. It is one of the universal languages. Have you ever been to a classical music concert? If you look around you, you'll see a wide variety of people. Different cultures, races and ages. People from all different backgrounds join together all in the name of good music.
That is just one element of Andrzej Wajda's "The Conductor" (1980). A deeply personal drama, which like a good piece of music weaves various themes like rhythmic patterns in a piece of music.
One story in the film revolves around a conductor, John Loasocki (John Gielgud) returning to his homeland, Poland, after 50 years away. He comes back after meeting the daughter of the love of his life and feels a need to return "home".
Another story is about the daughter and her husband, also a conductor. He is filled with jealousy as his wife, Marta (Krystyna Janda) and his orchestra, become so impressed with the aging conductor.
And the third story is about politics. With the arrival of Lasocki the Polish government see this as their opportunity to prove to the West how cultured they are. They want to use music for political advancements.
Many films have tried to use the orchestra has a metaphor into our society. Hungarian filmmaker Istvan Szabo tried it with his English language film "Meeting Venus" (1991). Where the orchestra was meant to unify East and West and demonstrate how all of Europe, since the fall of the Berlin Wall, must unite. In Federico Fellini's "Orchestra Rehearsal" (1978) the film is a satire on modern day Italy. Sometimes this is a tricky metaphor to use. "The Conductor" doesn't seem to use it to its most powerful and emotional advantage.
Still the film has some wonderful moments. I love the moments when Lasocki returns to Poland after living in New York. I like stories about people who return home in an attempt to discover themselves and realize what they have left behind. Lasocki seems like a character who is trying to escape his identity. His bitter memories. But leaving Poland wasn't enough. Those memories still haunt him.
One very revealing scene has Lasocki out with Marta. As they speak over a candle-light dinner he keeps referring to her as "Anna", Marta's mother. He tells her of his disappointments and dreams. Even after Marta corrects him, he still calls her "Anna" and confesses how he feels he has let "Anna" down.
This scene is working on two levels. Marta only has an interest in Lasocki because she wants to find out more about him and her mother. She is using him to look into the past. The only reason Lasocki is interested in Marta is because she is the daughter of his great love. In Marta he sees Anna. Here we have two people sitting together and neither is really with the person they are sitting opposite.
I also like the moments between the husband, Adam (Andrzej Seweryn) and the orchestra. He is very aggressive when conducting. Always beating the orchestra down, never giving them encouragement. A complete contrast to Lasocki who does nothing but praise them. He even remembers their names when Adam cannot, after conducting them for three years.
After the Polish government hears the orchestra they are embarrassed that they are not playing their best. The orchestra is after all representing Poland. If they play bad it will make the country look bad. It is suggested they bring in better musicians from Warsaw. Adam refuses actually sticking up for his musicians. But in the next scene when conducting them, he realizes the government has already sent for the musicians so he becomes even more ruthless as a way to justify the government's actions.
These moments ring true. Even today countries which were on the Eastern side of the Berlin Wall are always trying to impress the West, especially America. They may have resented the country during the Cold War, but in a strange way they sought America's approval. Any chance to show the West they were not Communist barbarians was one they relished.
If there is one thing I find odd about the movie it is that John Gielgud is in it. Gielgud is a great actor. He was considered one of the finest Shakespearean actors of his time. Throughout his long career he managed to win the Oscar for his role as a butler in "Arthur" (1982). But as fine an actor as he is he is wrong for the movie. He is suppose to play a Polish person. If you've never heard Gielgud he is a British actor. How can a Polish person have a British accent while living in America? When in Poland he begins to speak Polish. Naturally the lines are dubbed. Why couldn't they find a Polish actor for the part who speaks English?
As I mentioned the film was directed by Andrzej Wajda. Perhaps Poland's greatest director. A man who put Poland on the cinematic map with his World War II trilogy; "A Generation" (1955), "Kanal" (1957) and "Ashes and Diamonds" (1958). His films have always been about the history of Poland and the aftermath of WW2 and the Communist uprising. His latest film "Katyn" (2009) tells us of a massacre which the government tried to cover up during the war. "The Conductor" seems like a typical film for him but is seems more harsh against Poland, showing them as political opportunist.
The film has won its share of praise. It was nominated for two awards at the Berlin International Film Festival. One for the main prize, the Golden Bear and one for "Best Actor" (Seweryn) who actually won. The great Ingmar Bergman, in 1994 at a film festival in his homeland, was asked about his 11 favorite films of all time, "The Conductor" was among them. That is a great honor when a filmmaker such as Bergman admires your work.
I wouldn't consider this Wajda's best film. It is personal and does have many heartfelt moments however. But I still wish the film would have made more of a statement. Perhaps taken a sharper look at the government or went deeper into Lasocki and Marta's memories. Nonetheless "The Conductor" is a film which should be seen by all film lovers.
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