As
a 20 year old, what do you do, and how do you feel, when you suddenly discover the
man who you have always loved and thought was your father, apparently is not.
Dekalog 5 is one of the most convincing of these short films as it depicts
perfectly the complexities of an adult/ child relationship. Michal, in his
nuanced and understated way, is thoroughly credible as the ‘father’ figure, and
Anka is equally assured as the mature but emotional young woman battling to
cope with what’s before her.
The
issue of the existing letter with “To be opened after my death” marked on the
front of the envelope has the potential to destroy their relationship. Both have
known of its existence, but have ignored it for years. It is a final letter
from Anka’s deceased mother for Anka’s eyes only. Lately her father has been
leaving it lying around. He wants his daughter to finally confront whatever
news she has, but doesn’t know how to bring it up. He suspects it might be
about issues of paternity.
The
beginning of the film depicts their strong emotional bond. It is a tradition on
Easter Monday, it seems, that they pour cold water on each other when each
person is unsuspecting. For Michal, it occurs when he is asleep in bed. Anka
cops it when she is in a sheer nightie, about to take a bath. It is playful and
charming, but it also suggestive of the games that lovers’ play. It adds an
intriguing element to the relationship. They can’t, at this point, understand
why, but there is no doubt that there is more than just a filial bond between
them. Both, for example, are jealous of
each other’s partners. “I hate it when you go away” she says to him at the
airport. Both admit to feeling guilty or unfaithful when having sex with their
choice of partner. Anka has trouble playing a romantic lead opposite a boy for
her drama rehearsals.
After
Anka tells Michal she has read her mother’s letter, and spills the beans, they
have a lot of sorting out to do. There is a long sequence where they looked
trapped, in a lovers’ tryst, in a claustrophobic lift. It builds tension
beautifully. Shortly after, in another beautifully realised scene, the two are
sitting in the half dark with two bright candles. It is Anka’s idea to say that
whoever’s candle goes out first has the right to ask a question. It is exactly
what someone like Anka would say. It is far too dreamy and romantic for Michal
to come up with.
The
most important sequence in the films takes place with little background noise
and in a dimly lit room with close-ups of faces. It is reminiscent of Ingmar
Bergman, particularly in its depiction of the emotional charge coming from a
parent and a child (like Bergman’s ‘Autumn Sonata’). This is until Anka removes
her t-shirt and is bare breasted. She invites her father to become her lover. Not
being his daughter, it is a choice they can both make. The emotional and
physical pull toward each other is undeniable. In the end, the burning of the
letter tells them both that the past does not really matter. Of all the ten
films in Dekalog, the relationship between Anka and Michal is my favourite. It’s
complex and moving and very real and Kieslowski’s camera is assured and he
takes the right amount of time to unfold an intriguing story.
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