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Summary

An analysis and interpretation of Tango by Zbigniew Rybczyński ...

Description

Tango by Zbigniew Rybczyński Tango, the 1981 short film directed by Zbigniew Rybczyński, includes characters from all stages of life; interacting in one room and moving in loops, all captured by a singular static camera. The most prominent meaning that is able to be drawn from the piece seems to be one of social disconnection, where each character remains invisible to one another whilst they all go about their duties. As Solomon wrote, the film is an almost “hypnotically complex work that requires several viewings to grasp completely” (Benedyktowicz, Z), and after watching it several times, the complete disarray of the room becomes more and more prevalent as the characters refuse to cooperate with one another, to which Solomon describes as being indicative of the cramped flats in Polish towns, thus leading to the social alienation of the occupants. The single static shot displays the entirety of the small cramped studio flat, a common occupancy within the communist era. Despite the obvious interpretation being that of the living conditions in communist Poland, Jean Paul Fargier explored possible meanings of the piece in an article written in 1988. Whether the meaning of the film is simply about a housing crisis can be questioned as he ponders the possibility of the crisis of the cinema, wherein “Tango is cinema itself” (Fargier, 1988) with its ‘doors and windows’ and ‘entries and exits’. Film has, in history, always shown a great amount of dramatic force and emotions, whilst video “opens up to a new world of emotion, laughter and drama” (Fargier, 1988). Tango’s avant garde film style displayed new ideas in terms of filmmaking and in this sense is deserving of Fargier’s description of the piece. Following on from this idea of entrances and exits reinforcing the cinematic notions of the film, Roger Noake comments on how “Rybczynski orchestrates his entrances and exits with great precision” (Noake, 1988), leaving the audience unreservedly aware of each action carried out by the characters. There are many possible interpretations for what this was intended to be read as by the director, perhaps being the reality of how quick life happens and the passing of time; with each loop of action making this increasingly clear to the viewer. Although the most obvious thing taken from this piece will be the overwhelmingly cramped environment, the different stages of life that all of the characters seem to embody thus micro-analyses the reality of time and the consistent changing over of generations, as is seen within the filmmaking style that Rybczynski utilises. However, another interpretation of the film

lies within its continuous ‘loop of action’ in that the audience begins to view it as a test in memory or perception. As the ball falls through the window, we are naturally urged to pre-empt the next action in the sequence. We are now not simply watching a short film, but engaging in the content on a whole new level. An emotion felt from the very first viewing of the film was one of anxiety; each character that entered the room represented a kind of increasing claustrophobia. In not communicating with one another or acknowledging each others presences, we as an audience are increasingly aware of the lack of space in the room as they narrowly avoid each other with each repeated action. Polish author Marcin Giżycki explores this idea further as he states that “each entry of a new resident intensifies the tension” (Benedyktowicz, Z), both within the film and to us as an audience. Like Solomon, Giżycki notes the symbolism contained within the piece on the housing difficulties within post-war Poland. Whether eating, dressing, or cleaning, the realities of the time period are shown within this eight minute film and the extent to which some suffered; “public corruption had become endemic and housing shortages and food rationing were just one of many factors contributing to the growing social unrest.” Seeing as Rybczyński has grown up in Poland, this film including factors that he has grown up with is not surprising. A different take on the film after several viewings can be inferred upon looking at the title; ‘Tango’. As the characters appear throughout, the synchronized movements from an assembly of people “resembles a ballet or a pantomime of sorts” (Szczechura, 1983), or, on the other hand, a tango; where each movement fits together in a synchronized ensemble. The meanings found within this film from various film critics and viewers has culminated over time to create a wide array of individual ideas. As author and craftsman Daniel Szczechura states, first there comes ‘construction and technology’ of a film and only after a while do they become “surrounded with meanings and produce an ambiance” (Szczechura, 1983). Due to this, an individual viewer’s experience of the film is wholly important in terms of creating a meaning and thus producing this sense of ambience. A sense of claustrophobia, as previously stated, was the very first thing I had taken away from this film. Only with research did the importance of the title and the historical factors in terms of the Polish housing crisis and the social disconnection of the era become prevalent.

To conclude, Rybczynski’s ‘Tango’ remains to be one of the most thought provoking experimental films to date, as is evidently seen with it’s win of the Academy Award in 1982. Although seemingly simple in creation, the sheer number of analyses of ‘Tango’, even years after its release, is admirable. From socio-historical factors to the choice in title, Rybczynski’s work as a director is widely recognised as is his process in the making of it; having stated that he “had to draw and paint about 16.000 cellmattes, and make several hundred thousand exposures on an optical printer” (Rybczynski, 1997), it is safe to say that each motion of action and character was thought about to the utmost degree in production and is thus his most notable work.

Bibliography

● Benedyktowicz, Z. Tango - a Dance of Universal Alienation, pp. 370 ● Fargier, Jean-Paul. Comme un Polonais (1988) ● Fargier, Jean-Paul. Jak Polak, transl. Teresa Rutkowska. pp. 44-45. (1988)

● Noake, R. Animation Techniques, Secaucus, Chartwell Books Inc. (1988) ● Szczechura, D. Tango, czyli nowe spojrzenie na kino, pp. 28-29. (1983) ● Rybczynski, Z. Looking to the Future - Imagining the Truth,” Mþliús, MalletStevens, Multimedia, BFI, London (1997) ● New World Encyclopedia, History of Poland (1945-1989) http://www.newworldencyclopedia.org/entry/History_of_Poland_(1945-1989)...