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One of my all time favorites.

Awesome Movie

As Good As It Gets

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Andrzej Zulawski's first feature film, "The Third Part of the Night", is not as talky as his later films, but is just as impenetrable. It features a man whose family is murdered by Nazis at the beginning of the movie, who then runs away, helps deliver a baby in a graphic sequence, apparently poses (or actually becomes) an insurance salesman, haunts a hospital where he has strange talks with an obscure nurse, and ends up volunteering for a program where he is vaccinated against typhus and is munched on by lice to help doctors find a cure.I really lost the plot after that, but the ending does have him finding himself, or a doppelganger, in a hospital bed.We are used to dialogue to provide exposition and reveal aspects of character. The dialogue in this movie only confuses the watcher further. The movie feels rough and wild, with violence and ugliness and insanity coming out of nowhere. It was also revolutionary for its use of hand-held camera, putting you in this world, and making you feel even more disorientated.

I have watched into the void and it's filled with lice. The Third Part of the Night has been described as many things, but HORROR is the one word that makes justice to it. The one thing mostly remotely like it are the Silent Hills games and Come and See. At first I could not tell that the film was set in WWII, but when it became apparent to me, the riddle of the film also became apparent. Most of the film is actually a rather straightforward film, but the way the events are realized it becomes a surreal vision of the end of the world. I have trouble describing it other than a disturbing nightmare about the end of time. A furious debut of a filmmaker, possessed by the Gods of film, who summon a town beyond space, time and hope.

I don't like to treat movies as simply fictions to pass the night, that way lies the habit of simply partaking of culture. The whole point is that we're roped in life by forces that have significance for us - and if film is to be a truthful reflection, it will devise ways to portray this pull, turn it into something we can see.This is how I welcome Zulawski. It's not because of what he has to say or because themes might be important, here Polish life under Nazi horrors. Similarly I don't reject him because stories are muddled or the acting is hysteric. I welcome him because he can use the eye of the camera to rope forces that move us.On the surface this is a glimpse of anguished life during WWII, but not the mock historical type that seeks to enshrine bygone events in pious ceremony. This is one that speaks very much about anxiety that haunts the soul now in this very life, rending the air with dread and confusion. Horror that is very much present and didn't go away with the war but still lingers. He would rail - more or less covertly - against a repressive Soviet regime in later films as well.So he's angry with god that won't manifest, he shouts dejection at a broken state of things, everything he would become known for is already present here, fully formed as template. But no answer can be found in the mind that despairs and clamors and none would suffice to explain anything. No his power is that he can show these things truthfully for what they are, confusion as confusion, ignorance as ignorance. So of course the narrative becomes oblique, muddled, sense takes flight and we're left with fragments.He's still striving to burst forth here, not yet channeling madness through the eye to alter how we see. That would come to him in due time. But everything you need to know about him you'll see in the very beginning of this first film.A man's wife and child are taken from their house one day and murdered in the yard; evil that swoops over this world and wrecks lives. He joins the resistance and immediately people are chasing after him and shooting to kill him, agents of that evil. So he hides in an apartment building and by a chance turn of fate, police arrest someone else in his place, someone with the same color of coat who was going up the stairs to a pregnant wife. In a stunning turn he helps the wife give birth, becoming the husband who was taken away.Jancso and Tarkovsky were previous masters of the floating eye who could maintain equanimity in the face of horror and misfortune; he is ruptured by it, splintered in selves. But it's still the same deep roar from the engines of consciousness that propels him.

Having seen two other movies by Zulawski, that forgotten artist, I'm starting to distinguish a style, some themes and his conception of human emotions. He doesn't care to develop a clear story, he has a way of surprising us continually through the exploitation of the characters which cover all the range of emotions. He can take any human and expose them to supernatural occurrences until they goes mad; they live in a constant nightmare. His actors occasionally go in a real trance and purge themselves of all emotions, crying and laughing simultaneously. It seems as if he is dissecting humans and beneath all that flesh and terror there lies a spirit, alone and in darkness.Near the end someone cites the Apocalypse, and goes something like this: and then they will search for death and they won't find it. And that seems as the center point to the movies I've seen. In a way you can say he believes in an eternal return of the soul, but what he longs for is tranquility in death and so life to him is just a terrible passing, and so it is occasionally for many.About the movie, well, it can be mistaken for some supernatural horror flick, some will be repelled by the style others will embrace it. But to me his movies are more of the overall experience and the way they linger in our subconscious as an infernal palace which we try to discredit and judge unreal, but which we inhabit.