[CYCLE] THE DECALOGUE 2 : thou shalt not commit point of perjury

On the occasion of the re-release in restored version of the ten parts of the Decalogue of Kieslowski distributed by Diaphana, back on one of the works of the founders of cinema is the european post-Walesa, a monument of ten hours made by one of the greatest directors of his time. Box of various themes and navigating between the social and the religion, we chroniquerons the entirety of the episodes, four hands, with each day a new article. Study on a case-by-case basis within a follow-up analysis more broad : we find the author behind the quilt, the thought behind the human drama.

The Decalogue 1
The Decalogue 2
The Decalogue 3

The Decalogue 4
The Decalogue 5
The Decalogue 6

The Decalogue 7
The Decalogue 8
The Decalogue 9

The Decalogue 10

“Thou shalt not commit point of perjury“, it is the informal title of this second episode of the DECALOGUE of Kieslowski. A woman whose husband is in a coma came to ask for the help of his doctor : she is pregnant by another man, and doesn’t know if she should keep the child. Through this intimate portrait existentialist, the director retains the recipe that began in the previous chapter but transforms the dish : the starting point, retains the same simplicity, but the execution – almost Bergman-ienna – is more interested in internal conflicts than to their demonstrations external.

THE DECALOGUE 2 – Thou shalt not commit point of perjury

THE DECALOGUE 2 this is the story of two characters, two destinies. One is dependent on the other ; one is a sinner, the other piles. It is on the route vagueness of this eternal border that Kieslowski builds a new times the essay – as for the first episode, this second chapter is built around its conclusion : that purpose which brings the narration to the dogma, the concept of the form ; however, it is not only a starting point.

What more interested in Kieslowski, these are his characters and their situations. In this second DECALOGUE, are the two protagonists and thus two dilemmas that confront each other : the uncertainty or the lie, the sacrifice or betrayal. More than one episode on the perjury, it is an episode on the choice – and more particularly that of lie. The choice, also, of the symbolism of the part of Kieslowski, for example with this plan iconic of a fly drowning in a drug.

“The tragedy is the form in the subtleties of allegory and dialogue.”

The melodrama here is more reclusive, less expressive, the tragedy is the form in the subtleties of allegory and dialogue. It is, in fact, with its very long exposure as the end of a word makes sense, because Kieslowski especially excels in the design of its two central figures. More than to give them a story, he gives them a daily, and it is in the illustration of the gestures that their famous choices become so hard.

This choice, it is the immortal cleavage of the free and the referee. Kieslowski between two designs for the final draw that matters. They relate as much to the abortion as illness, bereavement, such as adultery. It is in crossing the sin in ethics, the exception to the rule and empathy to the fortress of the dogma that he exhibited for the first time in the series the lines of concrete to achieve its ambition of philosophy : to capture the fluctuations in the uncontrollable of life.

Moreover, it is interesting to note that this is the second time that the man of science is the face of the force of events (the professor in the first episode, the doctor in this second). False-leitmotiv that ultimately has no semantic volunteer, perhaps we could see the painting unconscious of absolute impotence : if most scholars do not have any more solutions, who will ?

“Maybe we could see the painting unconscious of absolute impotence : if most scholars do not have any more solutions, who will ?”

The deconstruction of a scientific, if it has no central place in the series, remains a cause of this second component. The weight of ethics, carried by the doctor is stuffy – if it is not in the heart of the events of novels that act in parallel to its quasi-static evolution, it is his words that will come to resolution. It is, as a god, responsible for making the right decision. And when there is neither bad, nor good corollary, here it is, as Solomon, in charge of doing the things.

In him building a humanity before struggling with the limits of his own pride, Kieslowski written man-the ultimate tragedy. The one who has lost everything, and whose divine task is to prevent the other lose everything. Or at least try. THE DECALOGUE 2 suggests, in very broad terms, the influence that one individual can have on another. A child on its mother, a lover on his half, a doctor on his patient – it’s almost the witness to a power supernatural, at the heart of all religious doctrines, that Kieslowski reduced here to its a simple human source : a child as a patient, are responsibilities, the laws of God do not make that issue obvious.

The greatest irony will be that THE DECALOGUE 2 ends with a confession. One last truth that, in a musicality full of melancholy, comes complete with emotion, a narrative that is inherently intimate. Universal, but personal – an intrusion without a second thought in the questions existentialists of the criminal, social, and physical incarnation, and ravaged his consciousness. There may be many things, but above all it is the story of a woman, a wise man, a sick man, a man’s shadow and of a child.

KamaradeFifien

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