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Simply Perfect

Great Film overall

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

One of the worst ways to make a cult movie is to set out to make a cult movie.

'Rekopis znaleziony w Saragossie' (or as it is also known as,'The Saragossa Manuscript)is one of those strange little films that originally had a limited release in the U.S. (and a version cut by just under an hour.at that). This film,however came to the attention of Grateful Dead founder,Jerry Garcia,while attending a screening (in a questionable state of mind,I'm sure),back in 1966. He was so blown away by this film that he wanted others to see it,but that open window of opportunity was closed by the time he alerted his friends. He searched for years to get the American rights to distribute it out of his own pocket. Sadly,by the time of his death,news had arrived from Europe that a 35mm print of the original directors cut (which ran just over three hours)had become available. In memory of Garcia,the film's American distribution was handled by Francis Coppola & Steven Spielberg. Just why did Jerry Garcia go crackers over this film? Well,for one, this is a very surreal & psychedelic film,taken from the 19th century novel by Jan Potocki,which is about a very strange book that falls into the hands of a Flemish Captain,during the Napoleonic wars,and the effects it has on him (as well as anybody else who comes upon it). Wojciech Has directs a top notch cast of Polish actors,including the great Zbigniew Cybulski (star of many a prolific Polish film,including Wajda's Ashes & Diamonds,and others). Tadeusz Kwiatkowski's screenplay brings out the best in what is probably a difficult novel to make the transfer to the screen. This is the kind of film that one does not need the use of psychedelic drugs to get the utmost effect from (but probably wouldn't hurt). Not rated by the MPAA, this film does contain a bit of graphic violence,and a bit of mature content.

This could have been one of the all time great films, and maybe the best adaptation ever, but for me it failed, and because the idea of the book would work so well in film its failure, for me, makes it even more disappointing. For the book was not perfect, though great, the book suffered from using a technique which does not hold very well with the written word, the coarse editing and stop start endless descriptions of time and place disrupt any sense of poetry/flow and thus dull its overall purpose, making it very clinical in tone. However, these techniques, which fail with words, are exactly what make films flow and turn them into poetry, and this film flowed beautifully and effortlessly between scenes, leaving the core of the story unblemished and indeed enhanced by the sudden changes. Where as the book was heavy this film was light. But unfortunately instead of continuing the string of stories into a deep maze (like the book) it merely took a handful of the best bits, reworked the narrative and completely changed the ending, leaving a very weak and simple film behind (completely unlike the book).If this had the guts to be several hours longer, take a lot more of the book and follow its narrative then it would of completely solved the flaws of the book and out done it in every respect. So on the one hand you have a book which technically fails but in ambition succeeds and on the other hand a film which technically could of succeeded but fails in ambition. This book, for me, was a film before film, but its film version lacked guts: jan potocki asked his readers to devote many evenings to reading his book, unfortunately the makers of this film didn't have the confidence to demand more than a few hours from its viewers. Such a shame.on a side note the score is excellent, and very humorous, but like the film, and maybe because of the film, wasn't taken to any great depths. i would of loved to of seen the Velasquez story followed and heard Penderecki's scoring to the Saraband scene 'forget science and reason all you need do my son is learn to dance the Saraband'. ohwell.

Perhaps more than any other film, Saragossa Manuscript begs for multiple viewings. A fascinating way to watch this movie is to simply see it as space unfolding. At the highest level the structure is a set of interconnected stories which loop back on one another. Each story is a separate, nested world with a narrator who serves as a portal. This is not unlike current theories in physics about the multiverse, with separate worlds that wormhole into and out of one another, connected by black holes.Also, the frame by frame construction of the film is deeply spacial. The setting of the Sierra Morena seems to have not a single flat surface and the camera is often askew to accentuate this. Elaborately constructed sets are filled with boundaries and connections. Characters interact thru barred windows and seem to constantly flow into and out of doorways and windows. There are many long narrow corridors and alley ways. The camera captures ascending and descending stairways and shots are wide angle to create a feeling of great depth. Often action is focused on a figure in the foreground while another character secretly slips into or out of the room thru a doorway in some distant corner.This unsettling and masterful manipulation of space is in large part what propel the story so convincingly, since the many boundaries and connections determine which relationships are consummated and which things remain forever out of reach.

"The Saragossa Manuscript" is a very entertaining film that two or three viewings will eventually allow you to understand fully. Its style mixes an easy congeniality and libertine spirit à la "Tom Jones" (1963) with elements of sophisticated comedy and slapstick commedia dell'arte, all delivered by an expert cast and imbued with a tangible sense of fun and mystery.Its story centers around the efforts by a brave officer in mid-XVIIIth Century Spain to distance himself from ghosts or evil spirits that visit him every night and take the form of two charming Muslim sisters who want to be his lovers and bear his children, even in succubi form, and insist that he convert to Islam. Those erotic (and heretic) reveries also have something to do with devilry and all things forbidden and his encounters with those women are encouraged by the mysterious figure of the Cabalist (another forbidden science) and his sister Rebecca and severely repressed by roaming members of the Catholic Inquisition. This framing story is the pretext for a series of very involving and amusing moral tales told in flashback by several participants, who all echo each other and whose moral seems to be that all religious and social prohibitions and ghost stories should be taken with a grain of salt. In this ocean of mystery and gothicism stands the figure of Don Pedro Velasquez, a mathematician who befriends the hero and who seems the only character to believe in the cold light of reason (foreshadowings of Polanski's "The Fearless Vampire Killers").After several viewings, the only point in the film which remains mysterious is why Frasqueta's lover (Pena Flor) should appear with a bloodied face when he climbs in her bedroom through a window, a fact the viewer has to provide his own backstory for and which could be evidence that the original film was even longer than the 182 minutes at which it clocks in on the restored DVD edition. (Personal theory: Pena Flor really was Frasqueta's lover and the band of thugs Frasqueta hired to deceive her husband into believing he had paid to have his wife's lover killed really did attempt to kill him before he paid them to kill her husband instead.) Well, that and the fact that Jerry Garcia of the Grateful Dead, an early fan of the film and one the persons responsible for its restoration, was fond of quoting a scene from the film that doesn't seem to exist anymore (a character's confrontation with Death at the foot of his bed, which, according to DVD Savant, could come from the 1960 Mexican film "Macario")...A WORD ABOUT THE DVD: This film was restored thanks to the efforts and money of Martin Scorsese, Francis Ford Coppola and the above-mentioned Jerry Garcia, and the collaboration of the director. It was shot in Dyaliscope, the French CinemaScope equivalent, which is always projected at a standard 2.35:1 ratio. This "enhanced for widescreen TVs" DVD shows an image with a ratio of 2:1, which means that the picture information is still squeezed by a ratio of 15 % in relation to the way it should be shown normally. In this presentation, the picture is "fish-eyed" and the characters and animals appear too slim. There is no way around this problem if you watch it on a 4:3 television set. However, if you own a widescreen TV, you can set-up your DVD player as for a standard 4:3 TV monitor and gently unsqueeze the resulting picture with any one of the "cheater" modes provided by your TV model to approximate a 2:35 presentation. There is no way of knowing if this drawback is the result of simple ignorance (mistaking the 2:1 squeeze of Dyaliscope with a 2:1 projection ratio) or of a compromise allowing to use the greater part of the TV screen in both 4:3 and 1.77:1 TV sets. It took me along time to figure out this problem and I am glad to share this little trick with you.