They
called it a heist, but it was really withdrawal. They were union dues in an account the
Solidarity representatives were the rightful signatories for. Yet not surprisingly, the Communist regime
preferred to keep all funds under their control, so they could be immediately
frozen should the need arise. On the eve
of martial law, a handful of workers-turned-activists anticipate a looming need
for that money in Waldemar Krzystek’s factually based drama 80 Million (trailer here), chosen by
Poland as their official submission for this year’s foreign language Academy
Award, which screens as the closing night selection of the Skalny Center’s 2012 Polish Film Festival at Rochester University.
Winter
1981 will be a cold one. Despite promises
made, the Communists are not about to let Solidarity operate freely. So far, they have waged a war of small ball
provocation, desecrating Soviet war graves and the like in the guise of Solidarity
activists. However, when four real
Solidarity supporters bust them in the act, in front of cameras, the stakes precipitously
rise.
Perhaps
too conveniently, there is a source offering government information to the
Lower Silesia branch, but the dissident workers are not convinced they can
trust him. Still, his information always
pans out. Essentially warning them to
expect a long siege, the quartet convinces each other high liquidity is in
order. Of course, it is never a good
time to plan a major operation in a police state. Staszek’s very pregnant wife is an obvious
vulnerability. Her high-ranking father
can only protect her within limits.
While Maks does not have the same concerns when he takes up with
Natalia, a French journalist of Polish heritage, she is something of a
distraction.
How
refreshing is it to see a film that uses the word “Commie” as a term of
denigration. It is equally appealing to
see members of the Catholic Church playing a heroic role in the struggle to
attain freedom and dignity for the people.
In many sad ways, 80 Million is
actually a timely film, reminding viewers of the consequences of a media too
closely aligned with the state. Still,
it is largely optimistic in tone, more intent on celebrating Solidarity’s
triumphs than mourning those lost during the dark days of Communistic
oppression.
Indeed,
there is no nostalgia for the old regime.
At various times viewers see inside Communist torture chambers and eavesdrop
on their ruthless scheming. Piotr Głowacki
is particularly detestable as the serpentine SB Captain Sobczak. Not to be
spoilery, but the manner in which he gets his is quite satisfying.
Frankly,
Krzystek’s severe docudrama style limits the time for character develop, but he
sure can stage a massive protest. The
tenor of the times certainly comes through loud and clear. Still, there are some memorable performances,
most notably from Głowacki and Mariusz Benoit as “Kmicic,” the Deep Throat
figure. Emilia Komarnicka also turns up
the heat in a variety of notable ways as Natalia. Of our main co-conspirators, Wojciech
Salarz’s worried father-to-be makes the strongest impression. Unfortunately, Olga Frycz, whose earnest
presence and youthful good looks helped make Jacek Borcuch’s All that I Love so special is almost
criminally under-employed as Marta, an ex-girlfriend sheltering one of the
fugitives.
Although
Krzystek’s approach can be distancing now and then, he gives audiences more
than enough to keep them emotionally invested in the not-really caper. Marek Warszewski’s design team convincingly
recreates Jaruzelski era Poland. Again,
that is nothing to be nostalgic for. New
Yorkers take note—this includes gas rationing lines. A well crafted recreation of a fascinating
historical episode, 80 Million would
be a worthy Oscar nominee. Recommended
with a good deal of enthusiasm, it screens this coming Monday (11/19) as the
closing night film of the Polish Film Festival at Rochester, which will also
show Wojtek Smarzowski’s excellent Rose on
Saturday (11/17).