- It’s a stylistic supernova— it actually has so much in common with Cuaron’s Roma—but certainly from Antonioni (l’eclisse, l’avventura)
- If it wasn’t brazenly evident already with 2013’s Ida, Pawlikowski has arrived as one of this generation’s greatest filmmakers—and his auteuristic trademarks are firm now, 80-90 minutes in running time, jaw-dropping detail in the mise-en-scene (three films now with this Ida, and The Woman in the Fifth) and now with the crisp, monochrome box frame 1.37 : 1 ratio (two films now with this and Ida).
- The two straight films he’s recalling history and the historical political backdrop to tell the haunting story of a two outstanding characters
- Elliptical editing makes a statement with each elongated pause
- In many ways I think it’s one of cinema’s great love stories- flawed individuals foiled by themselves (she’s fatalistic and mercurial) and circumstance and political backdrop
- Again- I think she was forlorn and damaged anyways- so melancholic- Joanna Kulig gives the performance of the year
- The music is sublime- both the period jazz and the folk music from the opening and in their live performances
- A reoccurring visual motif that wondrously matches the narrative- is the two lovers at the center in the frame lost in a sea of people but the focus is on them- it’s done again and again- brilliant
- We have the spot in the woods where they first kiss where they eventually meet years later to take their own life—so tragic- the shot of the year (even in a year with Roma I think) is the Tarkovsky-like Nostalgia shot- so immaculately framed and so well earned formally with the reoccurrence of images and places
- Pawlikowski’s trademark Bergman two-face framing shot
- Photography that can match any film
- The narrative is Doctor Zhivago but with the elliptical editing unrequited (or rather tragic) love story we’re more aligned with WKW’s In the Mood for Love
- The Rock-Around-the-Clock shot/sequence tracking Kulig– magnificent—amongst the best of the decade
- The haunting finale at the bench—again hard not to recall the bench and frame in L’Avventura’s final shot
- A Masterpiece
How would you compare Cold War’s cinematography with that of Roma ? I heard an argument that Cold War is superior but I think I’d go with Roma even tho Cold War is very close.
Also, I rewatched Cold War yesterday night and although I was feeling downcast when it ended, from the moment I woke up today, I have a strong feeling of melancholy and sadness, I’m emotionally devastated. Did you have the same experience, did it affect you that way ?
@Cinephile– Cold War and Roma have much in common (a memory piece, black and white brilliant photography). I mention Cuaron’s film several times in my notes on Pawlikowski’s film here. Certainly there are some differences, too. Pawlikowski’s work has the specific 1.37 : 1 tightly focused on the two lovers (reoccurring shot of them focusing on each other, even in a crowd) and Cuaron goes the opposite way with the sort of rolling landscape shots. I hadn’t really thought about which is superior– except they are both among the best and most beautiful films of the 2010’s decade.
And yes- both Cold War and Ida hit me that same way– melancholic and devastating- indeed.
I’ll go with camera movements of Roma and beauty of Cold War. I’ll say cold War is a little more stylish and it’s production design is a winner.
So, I read the comments here and reminded myself of something I thought when I first saw the film. I’ve already mentioned somewhere the connections I believe one can find between Pawlikowski and Mizoguchi, but the Antonioni comparison here resonates incredibly well, particularly for Cold War. In many ways, Joanna Kulig’s part feels like the role Simone Signoret was born to play but never quite got around to. Still, Kulig does magnificent work. She’s tragic, mesmerising, absolutely hypnotic and searingly melancholic. The pain, abandonment and regret in her eyes is devastating, and turned into beautiful art as captured by Pawlikowski. A part well written, well photographed and well acted is all the ingredients needed for a timeless performance. It compares very favourably to Jeanne Moreau’s turn in Elevator to the Gallows, and there is a lot in common here in the way of photography, atmosphere, melancholy, nuance and talent.
PS: there appears to be something about fatalism that the French seem to get quite right.
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