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This unfinished and controversial science fiction film of the 70s could have changed the genre forever





The closest Andrzej żuławski came to become a familiar name, it was when his only horror in English, “possession”, was made available to broadcast on a thrill in 2023. This sudden projector attracted horror fans towards the Cult Classic brand with Robert Pattinson attached as a producer. The journey of “possession” to become almost a film lost to its fairly recent 4K restoration is inspiring, because it helped to invigorate the cultural relevance of żuławski as a director who remained faithful to his vision without compromise until the end.

As uncomfortably personal and intense as “possession” is also the most accessible work of żuławski. Everything he designed obsessively – the vanguard “the third part of the night” to the “Szamanka” erotic – was either prohibited by the Polish government, or has remained criminally neglected since his release. The topic of state intervention is integral to żuławski’s career, as it began as early as his second feature (1972’s “The Devil) and Plagued Him Until he was able to France to create art on his owl. His” on the Silver Globe “was one such Undertaking the time censorship, leading to a thematically muted, half-finished sci-fi that always transports markers of artistic shine.

While the production of the film took place between 1976 and 1977, it was suddenly interrupted by the Polish authorities, which led to a delayed version of its unfinished form in Cannes in 1988. Although the film was considered 80% complete in 1977, the majority of it was drawn up by the government, although some of the unnecessary coils have managed to survive. Towards the end of 1985, żuławski Rehot part of the story while adding a voiceover to fill the missing pieces. However, this precipitated courtyard and patchwork of a film defies the expectation to each turn, demanding our attention with its disturbing atmosphere and its amazing interpretation of the genre.

On the Silver Globe is an unfinished space opera, but also the Magnum opus of żuławski

“On the Silver Globe” begins with a set of prologue in the distant future. Here, two researchers resting in a sorry landscape are approached by a horseman on horseback, who hands them an object which apparently fell from the sky. This object, nicknamed the small transmission module, contains the video newspaper of an astronaut whose profession crashed 60 years ago, preparing the way for the events of the film. We are immediately aware of the consequences of the accident, where astronauts land on an anonymous planet and decide to settle on the seaside to rebuild the human race. At this point, if you have already made predictions for what will happen, be ready to be surprised by an epic history which represses strange visions on the very nature of existence.

It turns out that this nameless planet is not at all a planet, but the moon. While this group begins to populate the moon, they realize that rapidly growing moon changes (which are distinct from those born on a dying land) are indifferent to the established cultures and traditions of the earth. This new sect bases its own religion, inspired by the decline in pagan customs, which allows żuławski to make the most surprisingly absurdic visuals which are dotted with a feeling of feeling. It is a work of experimental art from start to finish, where the story takes place through the medium itself, as opposed to the dialogue which openly contextualizes everything (similar to the experimental science fiction anime like “experiences in the LAIN series” or “Texhnolyze”, which take the “show, do not say” the exciting and bizarre feeling).

The political shades of “on the Silver Globe” are firmly woven in its DNA, which partly explains why the Polish government was so extreme in its repression and so determined to erase the existence of the film. But żuławski persisted, reconstituting everything that remains ten years later, even when there was little satisfaction in presenting a narrative as sloppy and fragmented in the world. Some scenes remain censored, the images being nailed above what is supposed to remain hidden. Instead of the clumsy air, these scenes feel messy, as if we were about to discover something prohibited, but never to do it.

If even one person ends up seeking “on the Silver Globe” after reading this, it brings żuławski together to be validated and understood as a director. It is the “dune” of żuławski, only suffocated prematurely before even reaching the point where a erroneous young boy occupies the controversial coat of the Messiah and heads for an imminent disappearance.



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