CAMERA BUFF

Poland, 1979, 112 minutes, Colour.
Jerzy Stuhr.
Directed by Krzysztof Kielslowski.

Camera Buff is an interesting and entertaining Polish serious comedy. With its focus on Polish television and the repercussions for government control of the media and the amateur making documentary films which are critical of the State, work, bureaucracy etc. and their winning prizes indicates the kind of criticism possible for Polish directors prior to the clampdown on solidarity. Krzysztof Kieslowski is in the tradition of Zanussi and Wajda. Zanussi appears as himself in the film with an excerpt from his satirical film Camouflage. Television director Andrzej Jurga also appears as himself.

The film is about a small town and a factory, there are glimpses of the ordinary Polish way of life and the factories (with echoes of Wajda's criticism in Man of Marble). The engaging hero, an ordinary polish man, is encouraged to film - with the result that his wife leaves him, his position becomes precarious and he is subject to criticism (perhaps a foreboding of what was about to happen in Poland). The film is subtle in its characterisations and in its situations - does not explicitly preach, but makes its points very forcefully. It is interesting to note that the film won the Grand Prix at the 1979 Moscow Film Festival.

Kieslowski went on to be one of Poland's outstanding directors with The Decalogue, The Double Life of Veronique and the Three Colours Trilogy.

1. An entertaining film: comedy, dram , social observation, political observation, criticism? Local interest? Universal qualities and appeal? Its acclaim e.g. at the Moscow Film Festival?

2. A work of Polish cinema of the '70s: the skill of the directors, their political and social comment. artistry? Message through entertainment? The Polish film industry and its reputation? The connection with television: images, freedom, critique?

3. The camera and its ability to record, Filip and his joy, capacity for observation, creative film-making, comments? The interpretation of the factory, the pressure to make propaganda, his photographing the dwarf? Winning in competitions? The camera observing and criticising - at a remove from reality, yet offering insight? The film itself and its quotation from Camouflage, TV excerpts? The responsibility of film-makers and their instrument? Creativity and the repercussions of fear? The presence of Zanussi and Jurga? Discussions about techniques, editing? Film theory?

4. The presence of the television director and the cinema director - as characters, their observations on film-making and its responsibilities? Lifestyle? The colour photography, the score and the use of classics?

5. The significance of the excerpt from Camouflage and the critique and irony? Zanussi putting forward his views? Jurga and his experience?

6. Filip: an engaging character, audiences identifying with him, pleasantness, naivety? His wife and the bonds between the two? Family life? The disruption, the separation and her walking out? His relationship with his friends? The camera, enthusiasm? His becoming an enthusiast? Home movies, the baby? Work? The foibles of the people in the factory? The competition? The involvement and his becoming more critical in his filming? The authorities, danger, final decisions and warnings? His emotions, honesty? Changes and repercussions for him?

7. The authorities, the atmosphere of efficiency, fear, inefficiency? The factory? Colleagues? The importance of the director and his enthusiasm for film? Support of Filip? The pride of the factory in the film, Zanussi's visit and the fanfare for the celebrity? The television studios? The competition and the variety of people there, films? The Soviet Bloc and the background of totalitarian government?

8. Anna and her interest, skills, support, attraction?

9. The factory director: his appearance, manner. authority. threats. the dismissals? The symbol of the overbearing communist boss?

10. The Polish lifestyle, home, possessions, family? Work and conditions? Television and the ordinary world? Questions of freedom and control?

11. The repercussions on Filip for his experience, for his future?

12. Comparisons with western films? The universality of the Polish industry and its humanity? State-supported cinema with social insight? The role of the individual? Critique via communication?