Recent I saw a film by Andrzei Wajda: „TATARAK“.

It’s about DEATH.
The importence of this – one of the last Opus of Wajda – I succumed to is growing for me. In it’s ’spiritual‘ dimensions .
It’s ALL about death and only about death. Of must-dying people. Normaly dying ones.
The personalities of the entwined stories, the actors in them were staged as if they were not living in the era they were showed to live. Purposly – methinks – in the just gone communist one in Poland – but rather as if living in a special, quasi fluidum of timelessness. Enhancing this privatness and inescableness of each of these death-cases we/I have to go through in seeing the film.
I guess what Wajda had in mind was the opposite of his last film: ‚KATYN‘: This dreadful political motivated mass-slautering. Murdering of innocent people in their best years. Contra the normalness of the fact of dying.

To explain what I mean. After this film I instinctivly took out of my DC-coffre a musicpiece of SUK: ‚ASRAEL‘. To heare throuh the ear the bitter fact SUK experienced, what DEATH really is. After his wife’s dath Always and always:The Logic of Contradictary Idendity.„Once a person dies, this person is eternally death.
„THE INDIVIDUAL NEVER RETURNS“. All the terrible grief we feel when a person you loved is gone forever.
Culmulating in the Wajdafilm’s abysmal scene showing a convulsively crying woman holding her just drowned beloved one in her arms.
FINIS. CUT.

I experienced recently a stale never before realized presentiment of my own coming death I had in the moment, when I re-saw this gloriously staged, arrogant and presumptuous print of a ‚Hightime‘-Photo of my personality, coming out of the Printing-Maschine announcing not only the end of the photo-paper-roll, but of my own existence too. A short time after my near drowning having broken into the ice of a frozen lake in Brandenburg.
It’s a very private statement. I know. And has only a vague connection with Wajda’s great film.
Or?
H.B. (reread in 2011)

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