A Short Film About Killing

A very simple film that should make even the extreme right wing supporters of the death penalty at least question their beliefs.

Personally, I am a supporter of capital punishment, and until the final 15 minutes I was still unfazed by the film and clear in my mind that if used correctly it should be implemented. I know all the arguments about capital punishment not affecting crime rates but to be honest I don't really care about that. It's all about an eye for an eye and allowing relatives a degree of closure knowing that the perpetrator who killed their love one had suffered a similar fate.

However, and this is where this film is clever, the film doesn't allow you to see any real background to the character before committing his crime. It allows you to see only the act and judge the character on the act alone. If the film ended at the murder you would also believe capital punishment is not such a bad idea after all. Once we go past the very short trial (A long drawn out trial was rightly skipped as we already know the fate of our young man), and we get the one on one interview with the aspiring anti death penalty barrister we start to see just how screwed up this kid is, and how the rage in him is not entirely of his own making. Just as you start to question if you knew your mind doubts start to creep in and, just as quickly, before you can really gather any coherent thoughts he is whisked away to his death, and the act is entirely as abhorrent as you imagine it would be.

The nasty high risers and grainy colourless backgrounds set the scene well, and the shaded lenses, focusing on the main character highlighting his loneliness and possibly his narrow mindedness made it a rather sad film to watch, but it certainly is worth sticking with.

An 9/10 is definitely warranted

Kieslowski made a wonderful film. He made this film because he didn't agree with the death penalty in Poland at the time. This philosophical movie has : a great leading role (by Baka), great directing (Kieslowski) and great scenario (Kieslowski with Piesiewicz). This move has been made for TV but along with another parts of "The Decalogue". In 2005 the "Time Magazine" gave this film a title "One of the 100 greatest films ever made" (of course along with another nine of the "Decalogue"). Kieslowski became one of the best polish and European producers and directors. Miroslaw Baka and Krzysztof Globisz (great!) became very popular actors. This film is for anyone who likes strong film, not highly overloaded by special effects but unforgettable.

A Short Film About Killing is Polish director Krzysztof Kieslowski's feature length adaptation of the hour long piece belonging to the Dekalog series, a collection of modern representations of the ten commandments set in a socio-realist Warsaw in Poland. This film, 'thou shalt not kill', is a film essentially about two separate 'murders'. Jacek, a young adolescent, kills an innocent taxi driver in a seemingly motiveless crime for which he is tried and executed at the hands of the state.

Inherently simple in terms of its plot, A Short Film About Killing is a complex indictment on all forms of killing, whether in the form of an act of brutal murder, or an organised and legal murder wrapped in the arms of the law. Kieslowski, clearly inspired by the human-issues documentary movement in the 70's, has presented the film as a bleak and depressing reality. Filmed on location, the run down post-cold war communist Warsaw in Poland provides a cold and melancholic back drop to the film. The documentary feel of the film is intensified by the way it is filmed, with no tracking or dolly shots, just an observing camera placing us, the undiscerning viewer right in the thick of it. This can make the affect of the scenes in the film somewhat sickening at times, however it was clearly intended by Kieslowski, who wanted to show how disgusting murder is. The subtle green filter used on the camera, gives the celluloid a dreary appearance, pertaining to the bleak mood of the film. This minimalistic photography allows us to focus on the detailed reactions and actions of the characters in the film, which come to a horrifying climax during both murder sequences, probably two of the most superbly executed murder sequences ever committed to film.

Kieslowski doesn't try to explain Jacek's murder because he clearly wants to avoid condoning it with motives that might make the audience feel sorry for him. Instead, Kieslowski simply presents Jacek's execution as a counterpoint to the murder of the taxi driver, thus forcing us to compare the the horrific nature of both acts, revealing the crux of the film. The first murder in the back of the taxi is with out a doubt horrific, but the execution is just as unforgivable, illustrating that although legal, capital punishment is devoid of humanity and veracity, in all the same ways as cold blooded murder itself. It is a brilliant illustration of the failings and contradictory nature of capital punishment, which replicate the actions of a murderer instead of upholding justice.

It was clearly the intention of Kieslowski to underline this in his film. He believed, like many others, that capital punishment has no place in the 20th century. I wouldn't be surprised if many who start this film as pro capital punishment, end up strongly against it by the time the credits roll. If this sounds too presumptuous, then consider the fact that A Short Film About Killing led to the suspension of capital Punishment in Poland. This surely proves the power of the film.

Kieslowski did something essential, important; he invented something delicate in vision. It is a way of placing self so that the world appears to us as abstract but real. But rich, not simple. Textured, in such a way that the textures are in the environment, rather than objects in the environment.

This is so obvious a place to be that we forget that it was invented, not discovered. Though almost no one else achieves this balance in art, ever, it has become already something we find naturally in ourselves.

The way he achieved this was to divide his creative self, I believe. One part, he kept to himself and used in the ordinary way we do, stumbling into insightful pleasure. The other part he gave to his creative partner and lover and completely bonded the two. In practical terms, his partner created the situations and ordinary narrative shape. Dialogue.

Kieslowski was then free to shape the cinematic environment. In an ambitious project, he worked with what we call short form in ten related small films made for TeeVee. These are amazingly rich, experimental, successful. They are where he found and gave us that balance between outside and inside: observation and intimacy, narrative fold that vanishes.

But at the same time, he knew they were only sketches of what could be. He needed to take that careful balance into the long form. Now this is a major challenge, because all of a sudden the narrative becomes a spine, not a melody. It becomes the path in the environment. The environment in his carefully conceived balance now has to be dynamic. He did later achieve this in "Three Colors," one of the most important adventures in cinema.

The way he got there was by taking two of the ten decalogue films and making them long form projects. He did not do this — as is generally believed — by simply adding footage to make a short film longer. He completely reimagined the thing from scratch. It is, in fact wholly different, though all the bits of the small project are in it, they are now part of a flow. Though the thing is longer, there are many more mysteries, more story not exposed but placed in the space alone. There is a hint of multiple observation.

There is meaning now, in the car door that mysteriously closes as we see the killer dragging the body to the water.

We owe this man, this project, this killer a lot.

Ted's Evaluation -- 3 of 3: Worth watching.

I am sure this is not the most depressing film ever made, I am sure that somewhere, some time, some one has made a more distressing and emotionally powerful look at humans in all there glory. I'm sure people have endeavoured to make a film that makes a city (in this case Warsaw) look bleaker and darker. And I'm sure that this isn't the most painful spiral downhill voyage any character has ever made on celluloid. I'm also sure that this movie is the darkest movie on every level I have ever seen.

The director uses dark filters at time to make this movie almost black, but all that is does is replicate the feel of the material. Which was essentially an anti capital punishment movie. We follow a young man's trip to the dark side, troubled by an unnamed past this movie is a lot like The Machinist or Requiem for A Dream, we can see this man faltering and we feel helpless. The movie is compelling the same way a car wreck is.

You shouldn't be able to watch a movie this black, from the start with a cat in a terrible position to the end with a human in a terrible position, this is only a film that could have been made in Europe. Humans are painted in a despicable way, but it's the city of Warsaw that looks like it's about to grab you at any moment.

This is a very visual way of telling a story, words are almost not necessary throughout the whole film, except a brilliant conversation between lawyer and client. And another brilliant thing about this movie is there is not a "the capital punishment law is wrong" speech by a lawyer to be seen, the movie tells you what it wants you to know without a lawyer ramming in down your throat.

Subtle is best. And in this case a picture does tell a thousand words.

This is a slow burning painfully beautiful look at killing, and if you can sit through its 80 minutes of bleakness, you may never forget its imagery.