a trapped woman
by Douglas Messerli
Andrzej Wajda (based on the novella by Nikolai Leskov), director Sibirska Ledi Magbe (Siberian Lady Macbeth) / 1962
The great Polish
director Andrzej Wajda’s 1962 film, Siberian Lady Macbeth, even
from his point of view, was unsuccessful:
“… the only lasting
results of my labours are: the wonderful photography by Aca Sekulovic, the
character of Sergei played by Ljuba Tadic with enormous commitment and talent,
and the set decorations…. The film made me realise how difficult it is to
adjust to a new and foreign reality. I understood that a little freedom abroad
was not enough: I needed more freedom at home, in Poland.”
Is
it any wonder that the moment she sets eyes on the iterant pig-tender
Sergei—who himself has a brazen way with the women, worming his way into the
Izmalowa fortress through his attentions to the cook and servant (Kapitalina
Erić)—should immediately be seen by Katerina as mysteriously
attractive? Besides, she is desperate to have a baby to whom she
might be able to devote her love and life, something, evidently her husband
cannot provide.
And
you have give it to this “Lady Macbeth,” although she is proud of her family’s
wealth she has no scruples when it comes her position in this small village’s
social world. What she seems most to want is simply a way out.
might hate the world in
which she is imprisoned, but if she might control it, surely life would be
different. And she has now discovered that she pregnant, at the very moment
almost when her step-father discovers her sexual peccadilloes, severely beating
Sergei and threatening to send her off in social disgrace.
The
old man, who early in this film displays a fascination with killing the rats
that inhabit his house, is himself killed by rat poison cooked into mushrooms,
reminding me a bit of the recent film Phantom Thread; beware of a
spurned woman cooking up mushrooms, I thought to myself. In killing him,
however, she can spend days in bed with her new lover, and, after nursing him
to health she has ensnared him in her machinations. Sergei, in fact, plays a
role that is usually assigned only to women: a figure so devoted to his lover
that he cannot free himself from the enchantment. The swine can go hungry,
since he has become a kind of dependent beast himself.
While Sergei, the peasant, clearly feels guilt, Katherina seems to feel
no remorse; she has freed herself from one of worst one of her major
tormentors. And when her husband returns home, forcing Sergei to temporarily
flee her bed, she has little difficulty in planning the demise of Zinovij
Izmailow (Miodrag Lazarević), who having heard rumors has returned home earlier
than expected—although it appears that he might have intended to go away
forever.
But
even his death cannot end the legions of those who descend upon this killer to
claim their rights. Katerina’s aunt soon arrives with her mean-spirited little
son to claim that a great part of the estate belongs to him. As with the young
son it Orson Welles’ The Magnificent Ambersons, one wouldn’t really
mind if the little brat, who tortures the local animals, might be sent to
heaven or worse. Of course, so many deaths
in single family, or, at least, attempted ones,
arouses suspicions.
Despite Sergei’s relative innocence in the murders, we see him, once
again, as a sexist monster, attempting to seduce another beautiful woman during
the voyage. Strangely, by this time, we side more with the murderous Katerina
than with her former lover. She, at least, is still loyal to him, ready to give
up her own life for his.
Nikolai
Leskov’s 1865 novella, upon which this film was based, in its pre-feminist
hero, might have been in league with Ibsen’s Nora of Ibsen’s A Dell’s
House, written 14 years later. We sympathize with this intelligent and
passionate woman, trapped in a society from which she had few alternatives to
escape, although we might not wish to be left alone with her for very long for
fear of our survival. Like so many strong women of film, literature, and opera,
she is a seductress and monster both, just as likely, if she fell in love, to
serve your head upon a plate.
I
should add that Wajda’s film also offers up a score by Dušan Radić that
wonderfully incorporates many elements of Dimitri Shostakovich’s operatic
treatment of this same work.
Los Angeles, April 14,
2019
Reprinted from World
Cinema Review (April 2019).
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