WHIRLYGIG (WAHADELKO) (SHILLY-SHALLY)
Poland, 1981, 57 minutes, Colour.
Directed by Filip Bajon.
Whirlygig (Wahadelko) (Shilly-Shally) is a award-winning short feature by Polish director Filip Bajon, director of Children on Strike (1980). This film is an allegory about contemporary Poland - the central character is an ailing man with Christmas memories in a sanatorium when he was being treated for asthma, his mother oppressing him (she is a famous worker from Stalinist times), he is looked after by his sister. The young man represents Poland and the various facets of his family represent the pressures of the state and tradition in the Poland of the '80s. The film can be seen in the light of the experience of Solidarity and martial law 1980-82. The film can also be compared with the insights of Wajda’s Man of Marble and Man of Iron.
1. The impact of the film? For Polish audiences, non-Polish audiences? Its awards?
2. The basic narrative of the plot and its allegorical understanding? Poland in the '80s and its heritage from Stalinist times? An interpretation of the '80s?
3. The structure of the drama: the-introduction to Michael as a boy by his memories and dreams? Seeing his breakdown, confinement? The drama confined to the house and the rooms? The characters from the present? The past? The use of close-ups, reaction shots, editing? Slow tracks throughout the house? The importance of mood for the drama?
4. The significance of his past: children, the sanatorium, asthma and illness, possibilities of recovery, the presence and visits of parents -Michael's busily absent mother? The Christmas tree, the decorations? Santa Claus and the exposure of Santa Claus as a fraud? Stalin's portrait on the wall? Joy and disillusionment? The visit of the Korean children? The importance of the insertion of the flashbacks - and Michael's reverting to the past?
5. Michael and his being called out by the authority figures in his childhood, his experiencing his illness, his being looked after? Michael in the present contrasted with the past? The audience puzzling about his situation? Information given about him, sympathy? Interest? How well drawn as a character? As a symbol of contemporary Poland?
6. His background story: work, his being fired, his illness? His stripping in public, official condemnation, depression? His room, confinement in his room, illness, sweating? Moods and erratic behaviour? His reaction - especially to his sister and her care of him? His compulsions? Overhearing his mother and sister, ransacking his mother's mementos? The visit by the lady? His being cut off from life, reality? Pills - death?
7. His reaction to Aniela, the scissors and her taking them, his scoffing at her and ridiculing her? His intimidating her - her intimidating him? Her work? Her being locked out? The confrontation? The behaviour in front of the visitor? In front of his mother? The devoted and disappointed sister?
8. The character of Aniela: her appearance, manner, sisterly relationship, devotion and concern, antagonism? His worry about her talking about him at the office? Her return home, change and dressing gown, mockery and humour, interaction? Her disappointment? Her giving him the pills? What did she symbolise?
9. Issues: illness, depression, the oppression of the past, anxieties of the present, the need to rebel - and Michael urging Aniela to rebel? Meaning and meaninglessness of life? Death?
10. The visitor: sympathy, observation, being provoked, reaction, pity? Official positions and having to cope with the crisis?
11. Michael's mother and her mementos, the great worker in Stalinist times, medals? Her presence in the house? Her hard line towards Michael? Her lack of love - and her children's harsh response to her? Mother Poland?
12. The final radio broadcast - Poland and its politics, religion? Michael and the end of his life? The basic message of the film - realistic, pessimistic?
