SILENT TOUCH

Poland, 1992, 96 minutes, Colour.
Max von Sydow, Lothaire Bluteau, Sarah Miles, Sofie Grabol.
Directed by Krzystof Zanussi.

Silent Touch is an English language film made by celebrated Polish director Krzystof Zanussi. It was co-written by Peter Morgan who over ten years later was to write such celebrated screenplays as The Deal, The Queen, Longford, The Other Boleyn Girl.

Zanussi was one of the strengths of the Polish film industry, despite his overt Catholicism. During the 1970s he won a number of awards all over the world. After the fall of communism, he became the head of the Polish studios in Warsaw, producing a number of films including those of Krzystof Kieslowski. Zanussi’s best-known film is Year of the Sun, 1984, which was a world prize-winner.

This film focuses on Max von Sydow as an ageing musical composer, in the classical vein. He is also a survivor of the Holocaust. When a young musicologist comes to visit him, he is inspired to do one more final work. However, there is an emotional cost, especially for the musicologist whose girlfriend becomes the composer’s mistress. This also has its repercussions for his wife.

Lothaire Bluteau (Jesus of Montreal, Black Robe) is the musicologist. Sarah Miles came out of semi-retirement to play the wife.

The film is highly melodramatic - but explores themes of art, genius, obnoxious personalities, fidelity and infidelity, creativity.

1. The impact of the film? Humanity, creativity, healing?

2. The Polish settings? Denmark? Co-production? The international cast?

3. The role of music, the opening, the musical score throughout the film, the composition, performance?

4. The title – and the reference to Stefan?

5. The opening, the flames and the chords, waking? The quiet and the quest? Vocation, drive? The tone of the film?

6. The effect of the music on Stefan, as a musicologist, wondering about the chords? The professor and the discussion? Kesti and his memories of the war? His arrogance? The clash – yet helping Stefan?

7. Kesti, Max von Sydow in the role? His presence and bearing? Style? The contrast with Sarah Miles as Helena? Kesti and his age, ill? His moods, relations, business? The relationship with Professor Kern? The silence for forty years? His opinions on Schoenberg and other composers?

8. The character of Stefan, the glimpse of him, the journey and the quest, the water divining – and its being a symbol of his search? His being ousted, cut off, the letter and his not reading it? The information about the bad back – the follow-up? Health? The healing with his touching of the head? The massage?

9. Kesti’s change, the invitation, discussions, the origins of the chords, the Jewish background, performance, the untuned piano? Helena and the reserve? The variety of moods – but proceeding with the quest?

10. The opportunity for Kesti, a chance for life, creativity, his heritage?

11. The shop, the paper, auditions? Wanting a secretary? Annette and her help? The sexual relationship? The effect on each of the characters? Devotion? The pregnancy and not telling anyone?

12. Stefan, illness, power going out of him, empowering others, the hospital? His likeliness of dying? Conceit? The television?

13. Power and healing, the doctor and his questions, the revival – and the power gone? Normal again? Isolated, alone, without sex, a saviour, a healer? Stefan as a realistic character? Symbolic character?

14. The build-up the concert, the achievement, the collapse after performance?

15. Helena, anticipation, Stefan to go? The ambiguity? Annette, the child? Suffering? Calling Stefan to come?

16. The background of ordinary life, changed lives and the effect? The achievement? The silent touch, the healing touch, the baby?

17. A film with the touch of the ordinary, the mystical, the transcendent?