On the Silver Globe (1989)

People are voting emotionally.

Good concept, poorly executed.

The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

The film may be flawed, but its message is not.

This ambitious Polish science-fiction film first began production in 1975, but in 1977, with eighty percent of filming complete, the Polish government ordered production to stop and all sets, costumes and footage to be destroyed, over fears that some themes present in the film were an allegorical criticism of Poland's communist rule. The surviving reels of footage, smuggled out of Poland by the director and crew, lay dormant until the fall of communism and, although incomplete, the film was finally released in 1988. As much of the footage was lost or indeed never filmed, the narrative was incomplete and in a daring move Żuławski decided to narrate the missing scenes and include their destruction as part of the narrative, this narration being presented over footage of a busy Polish city that zips by the camera as Żuławski fills in the gaps, also providing clear dividing points between the three main acts.The film itself deals with the cyclical nature of existence, the ethics of freedom, the power of belief and the dangers of allowing that belief to fuel ideology, all told through the anthropology of an emerging society created when three astronauts from Earth crash land on a distant planet. For the film's first act we follow the point of view Peter who records events on a video-camera, as he, Marta & Thomas attempt to survive and start a new life in the barren, alien wilderness. After Marta becomes pregnant and gives birth to Thomas' baby, the astronauts realise that the child is growing at an accelerated rate. The film jumps forwards erratically as we are presented with snippets of a society emerging in front of Peter's camera lens, as the astronaut's children grow to maturity and themselves begin to procreate. The children begin to deify their astronaut parents, who seemingly never age as generations pass. The first act ends with Marta and Thomas dead and Peter, now referred to only as 'The Old Man', alone in a society of his children who do not understand his ravings, nor why he will not die like the others and ultimately they begin to resent his presence. Eventually, Peter returns to his space-craft and sends his hours of recorded footage back to Earth.The second act revolves around Marek, the owner of the space agency that funded the first mission, who himself heads to the planet to escape the pain of a lost love, only to find a savage, incomprehensible and divided society of people who have been awaiting his prophesied arrival. He is regarded as their messiah and through his eyes we are introduced to the advancements in the beliefs and structure of the society since we last saw them. Marek becomes embroiled in his role as deity, guiding the society under his rule and leading the charge against a race of bird- like creatures from across the sea called 'Sherns' who steal women to mate with and produce mutated half-human, half-Shern offspring. The final act takes place primarily on Earth, where another astronaut named Jack is attempting to discern what befell Marek's mission to the planet. He is caught up in an affair with Ava, the woman for whom Marek left Earth, and in a fit of drug addled depression he himself heads to the planet, only to find the people's messiah, Marek, crucified in grisly fashion. Ultimately, Żuławski is dealing with some heavy themes here, asserting that humanity has a need to continually create and destroy his gods, that without belief there cannot be understanding and that without understanding their can be no happiness.The world Żuławski presents is stark and beautiful, the Baltic shores, Caucasus mountains and Mongolian desert providing the barren and isolated landscapes that so capture the imagination throughout the film, but also it's the wonderfully designed costumes and props and cold, grey-blue cinematography that lend these places a true alien feel. Overall 'On the Silver Globe' is as intriguing as it is impenetrable. The frenetic camera work launches us directly into the midst of the chaos on-screen, events later explained more by action than dialogue as characters descend further into erratic and emotional madness, exploring the reasons for their being and the world around them through pained and awkward ad-libbed philosophical diatribes. While the narrative is most certainly confused, partly because of the unique journey of the film's production and release, and partly because of the confounding dialogue, the over-reaching story told is one that still conveys a powerful message about the nature of belief in human society and the desire to comprehend our existence. While most certainly not a film for everyone, 'On the Silver Globe' is a tough two and a half hour experience to endure, but one that repays it's viewer's diligence with some compelling food for thought and some truly beautiful cinematic scenes.

This film is as far from Hollywood style as Poland is.There are some impressive ideas in the movie (like some surreal scenery) but unfortunately everything else is a total scrap.Film was shot on East-German ORWO film of deplorable quality giving it a look worse than amateur 16mm shots. Sentences are completely absurd - you are lucky if you do not understand polish ! Acting reminds mad mumbling of psychiatric clinic patients....I was a small kid when I fist learned about this production - it was in 1978, they were taking some shoots in Cracow where I lived. I was a fan of SF, watching then Space 1999, Star Wars and Japanese films about Godzilla. So obviously I was very excited about this SF production taking place in my city. Then there were no knows about the movie. Ten years later it was show on Polish TV - I was angry, because it disappointed me totally.It is "unwatchable" !

A SF Movie that was started in 1977 - as long as I know from a polish group of people that worked at the Arts Academy.The project was then stopped due to problems. 10 years after, in 1987, somebody collected the original tapes which were about 75% of the script.What you see is this tapes glued together. The other 25% you see somebody driving around in a polish city holding a handcam out of the window of the tramway or running around with it and a speaker is reading the corresponding part of the script.It is a SF Movie that deals with Men and contact to other races, men land on an distinct planet. They live there. They leave their land to see what is behind the sea. They fight with the other race. They got sex with the other race. They get cruzified.The basic in this movie is the Question "why?".It is a low-cost production with very effective pictures, sometimes bizarr. 3SAT, a german cable television channel made german subtitles and aired it in about 1995. I was lucky to videotape it and looked for it since then in Search engines. 2004 is the first time that I found information on IMDB.

I finally managed a track down a copy of this film after looking for it forever. And not only did it live up to expectations, it surpassed them in every way possible! I had no idea what to expect from a Polish sci-fi film from the 70ies and the first thing I noticed were the lavish costumes, extremely impressive sets and great make-up. If someone would attempt to pull off something similar in the US today it would cost insane amounts of money. This is a film by Adrzej Zulawski so it figures that there is a lot of philosophical dialog and religious metaphors aplenty. In a way I was reminded of the films of Alejandro Jodorowsky and maybe if he had made his adaptation of DUNE, as he planned for many years, it would have turned out to be something like THE SILVER GLOBE. The copy of the film I watched was taped from the German TV station 3 Sat who actually paid for subtitling the film in German! The rather poor picture quality only stressed the otherworldly beauty of the images. Often the film felt like a transmission from another time or maybe even another planet. It is a truly unique gem, even in it's unfinished form, and a film that is overdue for rediscovery.