During the systemic transformation in the late 1990s, our main ambition and characteristic feature was to imitate the rich west. This imitation, under lame conditions of post-community, produced effects of either 1 of a kind, not akin to anything, or completely improper. So, for example, rather fit in their craftsmanship, Polish filmmakers began to make Czech films all the time from the minute they became obsessed with the desire to make American films.
As we know, Czech cinematography owes its fame to 2 movie auras: a town in industrial quantities or high-budget fairy tales for children, telling among the beautiful, rich scenery the incredible adventures of princesses and wizards, or equally excellent comedies, based on the Purnonsensian situational humour. Sometimes, in 1 movie painting, they combine both of these species; and sweaty in the pursuit of Hollywood, the swinging soul engineers from most willingly imitated this solution. Subject to this, that directors of part of a fairy tale fantasy, or the killer comic of their scripts always carefully developed, consistent effort and long-term experience, while their Polish colleagues achieved precisely the same fantastic and comedy effect by involuntary, against will.
The most celebrated Czech movie of Polish production was and will most likely stay the immortal "Dosy" Pasikowski, written in the climates of the Italian neorealist communicative about the drama of unemployment among Polish safety officers, shot at a time erstwhile safety officers established or took charge of companies, banks and television. After "The Dogs" an avalanche of more or little Czech productions, lower and higher flights, any godly linings, any purim miracles that cannot be calculated, for the title of their legions. But no doubt, the podium of the most Czech of films shot in Poland won erstwhile and for all the forgotten, inconspicuous, low-budget series "Special Services", describing, in the atmospheres of horror gore, the drama of the solution by minister Macerewicz Military Information Services.
Incomparable to nothing - but Jaroslav Haszek's best writings - the Czechity of this motion picture can be explained only by the fact that in all Polish consciousness, and especially in the alleged public discourse, the fact that the resolution of the WSI was unmercifully mitologized. Polish society has completely missed the fact (it remains to be determined who prompted it) that WSI had to be disbanded. Whatever the political arrangement of forces. In all country in the world, all intelligence service that allowed specified an improbable event to happen under its control, I the Smolensk disaster, erstwhile at the military (closed!) airport of a abroad country perished in unexplained circumstances not only the president of the state, but the full staff of his armed forces, would be spread to 4 winds. For not detecting the threat and not preventing it. Humanly speaking, for gross negligence of duty. Let alone military service.
But even I could not remember that the exorcising of the WSI, whenever and by anyone, was simply a necessity and a standard administrative action, present I would not remember if the owning public tv in a pre-election attack of fever did not pull out of the lamest and did not show to the general public 1 more excellent comedy: a painting called "Furiosis". This Polish remake of the Czech movie "Slunce, seno a par facek" (...silent atmosphere, based on stereotypes of jokes and a sketched acting game, are characteristic elements of Troška's directorial style... As Filmweb assures) describes the drama of combating pathology in the national cheering movement; and I explain immediately that this reminder was not intended to commemorate the notorious police "Action Fork", only to return to the pushy, media association of the PiS organization with football supporters and all their profoundly reprehensible subculture.
This process most likely started with any conflict between Warsaw's Żyleta and TVN's directorate, concerning the usage of the stadium, and erstwhile Legia fans hung a couple of banners against Walter, television, and behind it the another media began to scold "pissian kiboloms". This "narration" was then sustained and made public in the "discourse" with the hope of harming the writing, especially on the occasion of the scandals which regularly plagued the Warsaw independency March, until the failure of power by the Civic Platform. It was so public that when, a fewer days before the 2011 parliamentary election, there was an unexpected outbreak of riots in Zielona Góra, against the background of the death of the fan of the Falubazu, the ruling indivisible Platform openly suggested the work of the Law and Justice for these incidents and threatened voters with "pisos militants" in election material. And the winning - the final win - Platforms in these elections were then justified by opposition from the public against the "written" and, of course, force and anarchy.
And that's the difference, between the 2011 and 2025 elections, between the riots demolishing the city and the television-playing of comic movie gnomes, I would like to dedicate to all today's PiS critics speaking from right-wing positions. Especially those who say the PiS has done besides little. Dedicate as a proposition that any period of interruption of the power of the closed postcommunist strategy over the country, all tiny step towards the order and healing of the state, is worth appreciating and fighting for.
Because no 1 goes in the same river twice, even if he dies and the ground eats.
