Borowczyk presents two, seemingly distinct ‘volets’. In the first, we see an old farmer and his dog shot in stark black and white. The second features a succession of tableaux vivant in startling colour featuring houseplants and kittens.
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If I have to choose, I will pick the second part as my favorite. Not only because it wins me with the presence of a cute kitten playing a ball of yarn; the combination of various flowers arrangements with a muted coloured background and the music is beautiful.
Proof, if needed, that Borowczyk was one of the only true Surrealist film-makers (along with Buñuel and Švankmajer) since, like those two, his absurdity is aggressively rational, grounded in dialectical materialism and a politics of desire. To be honest, this doesn't mean that 'Diptych' is massively entertaining to watch, but it got my brain churning and the colours in the second volet are worthy of Godard!
It’s difficult to point out the theme linking both panels. But there is something that connects them. Both monochrome images incorporated with the sound of daily life and Vivid images fulled of graceful voice of Tino Rossi seem to just continue without break. This combination evokes me the sense of eternity.
The subject matter seemingly derives from the formal disjuncture. It's hard to parse entirely but each volet has its charm (the first in particular). This is experimental cinema in the purest sense of the term. Try it and see how it goes.
An elderly farmer is seen in black and white tending to his sparse fields in the company of his dogs then drives home in his truck, parks it his garage and - end. Next various colourful bunches of flowers and a kitten are seen while Bizet music plays. It's a total contrast to the first part which must be the point of the exercise. Or maybe it is trying to bridge the gap between production and market. Plot lost.
Interesting experiment, beautifully surreal, the two parts stay in contrast, but in a strange, subconscious, and poetic way balance each other. I wouldn't say this is something memorable, but if you appreciate surrealism in film, creativity, the 60s, a bit of madness, then most likely you will enjoy the experience.
Un exercice de montage limpide, qui nous fait d'abord voir une "dure réalité" en noir et blanc (un campagnard quasi-centenaire continuant à travailler, accompagné de ses chiens), puis une "fantaisie colorée" (de belles fleurs dans des vases, un chaton et sa pelote de laine, sur un air de Tino Rossi). La seconde partie, "contaminée" par la première, en devient gênante. L'ironie de l'objet reste un peu trop facile...