One thing that I have learned from Polish film is that there seems to only be three genres of film in Poland: the meek tales of desolate life, ridiculous comedies and the overproduced but beautiful adaptations of classic literature. In contrast, director Jan Jakub Kolski manages to evade all three of these clichés in his 2006 movie Jasminum. The result is a film that is magical, aesthetically rich, but above all and most surprisingly, happy.
At the very surface the movie is about a woman, Natasha, who arrives with her five year-old daughter, Eugenia, at a monastery in small-town Poland to restore religious paintings. However, we learn that at heart, the movie is a wise, warm-hearted story about things that matter: love, sincerity, tolerance and standing up for the things you believe are righteous and good. It also touches on other subjects like enjoying the simple pleasures in life and the relationship between science and faith. The latter two subjects are best displayed through the relationship between Brother Sanitas and Eugenia and also through the dynamic between Natasha, Father Kleofas and the painting of the Virgin Mary, respectively. Brother Sanitas can be described as an introverted soul at best. He works as the monasteries cook and is severely under-appreciated, underestimated, and overworked by the other monks. When Eugenia comes into his life there is a definitive attitude shift. At first Brother Sanitas is confused and even annoyed by the little girl. However, soon enough we see them spending time together skipping and in a scene of unprecedented gratitude towards each other Eugenia buys Brother Sanitas a pair of shoes while he builds her a swing. In a pivotal scene Father Kleofas notices that Natasha's restoration is unarguably making the painting more beautiful. Father comments, "What is the point? We can see her (Virgin Mary) more clearly now. But does it make our prayers any stronger?" The question that Father Kleofas poses remains relevant throughout the whole movie not only in relation to the painting. For example, the question of science versus faith comes up in the sub-plot regarding Natasha's disbelief of the three brother's supernatural ability to produce the scents of plums, sweet berries and bird berry. Natasha then begins to use her knowledge of chemistry to disprove this possibility.
Much can be said about the cinematography of the film. Krzysztof Ptak encompasses the elements of magical realism into a beautiful reel of film. The colors are lush and the scenery demure, but interesting. Through his cinematography, Ptak helps to enlighten the reader on another struggle, rural versus city-life. One will notice that in the city the colors are less lush and the weather not as pleasing. The lack of nature in the city also contributes to the feeling of barren and uninviting terrain.
The film plays in the style of all whimsical children's fairy tales, while at the same time blending in a series of very serious adult themes. There is a distinct scene in which two characters engage in sexual relations while Eugenia is narrating. Eugenia says, "I probably shouldn't say anything in this moment." It is this kind of juxtaposition of adult theme in a child's story that makes the film particularly amusing and interesting. The little girl, Eugenia, steals the show and is by far my favorite character. She develops a fantastic, hilarious and warm relationship with Brother Sanitas, the aforementioned cook of the Monastery. Eugenia is quite rambunctious and boisterous. However, Eugenia proves to be an extraordinarily dynamic character and she serves as both the narrator and as an actor in the film. She also helps Kolski succeed in telling his story delicately, in his very own style, with fine nuances and a twinkle of humor in his eye.
At the very surface the movie is about a woman, Natasha, who arrives with her five year-old daughter, Eugenia, at a monastery in small-town Poland to restore religious paintings. However, we learn that at heart, the movie is a wise, warm-hearted story about things that matter: love, sincerity, tolerance and standing up for the things you believe are righteous and good. It also touches on other subjects like enjoying the simple pleasures in life and the relationship between science and faith. The latter two subjects are best displayed through the relationship between Brother Sanitas and Eugenia and also through the dynamic between Natasha, Father Kleofas and the painting of the Virgin Mary, respectively. Brother Sanitas can be described as an introverted soul at best. He works as the monasteries cook and is severely under-appreciated, underestimated, and overworked by the other monks. When Eugenia comes into his life there is a definitive attitude shift. At first Brother Sanitas is confused and even annoyed by the little girl. However, soon enough we see them spending time together skipping and in a scene of unprecedented gratitude towards each other Eugenia buys Brother Sanitas a pair of shoes while he builds her a swing. In a pivotal scene Father Kleofas notices that Natasha's restoration is unarguably making the painting more beautiful. Father comments, "What is the point? We can see her (Virgin Mary) more clearly now. But does it make our prayers any stronger?" The question that Father Kleofas poses remains relevant throughout the whole movie not only in relation to the painting. For example, the question of science versus faith comes up in the sub-plot regarding Natasha's disbelief of the three brother's supernatural ability to produce the scents of plums, sweet berries and bird berry. Natasha then begins to use her knowledge of chemistry to disprove this possibility.
Much can be said about the cinematography of the film. Krzysztof Ptak encompasses the elements of magical realism into a beautiful reel of film. The colors are lush and the scenery demure, but interesting. Through his cinematography, Ptak helps to enlighten the reader on another struggle, rural versus city-life. One will notice that in the city the colors are less lush and the weather not as pleasing. The lack of nature in the city also contributes to the feeling of barren and uninviting terrain.
The film plays in the style of all whimsical children's fairy tales, while at the same time blending in a series of very serious adult themes. There is a distinct scene in which two characters engage in sexual relations while Eugenia is narrating. Eugenia says, "I probably shouldn't say anything in this moment." It is this kind of juxtaposition of adult theme in a child's story that makes the film particularly amusing and interesting. The little girl, Eugenia, steals the show and is by far my favorite character. She develops a fantastic, hilarious and warm relationship with Brother Sanitas, the aforementioned cook of the Monastery. Eugenia is quite rambunctious and boisterous. However, Eugenia proves to be an extraordinarily dynamic character and she serves as both the narrator and as an actor in the film. She also helps Kolski succeed in telling his story delicately, in his very own style, with fine nuances and a twinkle of humor in his eye.