Original subtitles

PRODUCTION COMPANY "X" PRESENTS

FILM BY ANDRZEJ WAJDA

THE CONDUCTOR

STARRING

FEATURING

THE SYMPHONY ORCHESTRA OF THE POLISH ARMY ENSEMBLE

BEETHOVEN'S 5TH SYMPHONY CONDUCTOR S. WISŁOCKI

EDITING

ART DIRECTOR

SET DESIGN

COSTUMES

MAKE-UP

THE IDEA FOR THE FILM IS A RESULT OF CONVERSATIONS WITH A.MARKOWSKI

SCREENPLAY

DIRECTOR OF PHOTOGRAPHY

EXECUTIVE PRODUCER

DIRECTED BY

This is the Kosciuszko Foundation that's got you the grant.

I've bought tickets for a great show today.

What's the show?

It's a play performed by blacks. They dance and sing. It's amazing!

Daddy!

Listen to it.

- Here. - It's from mummy.

It's the last time I've gone on my own, I can't be alone.

I'm so used to being led, that when there's no one to do it

I take myself by the hand and become the leader and the leaded.

I tell myself off like a boring nanny mean auntie or despotic husband.

That conflict consumes more energy than the world around me.

Look! I had no idea he was here.

Who?

- You don't know who Lasocki is? - No.

We must see this concert.

All right, but why?

He was madly in love with my mother.

- Really? - Yes!

I've never seen him before.

The concert was nothing special.

I enclose the programme so that you know what they played.

And Lasocki... It's not the right word.

You know he's a good conductor and realise what it means better than me.

The concert was nothing special.

I enclose the programme so that you know what they played.

Let me help you.

No, thank you.

My little Marta in the wide world!

I won't write about how they played

because you're going to call me silly again.

Besides, I was more of a viewer than a listener.

I was fascinated by that man.

It's not the right word.

You know he's a good conductor and realise what it means better than me.

But I'd like to play just this once in an orchestra conducted by him.

That's our Marta!

Play once and die!

Excuse me, you'll read it to me later.

Yes, of course. Go on.

I got your letter yesterday.

The news about the orchestra worries me less

than the way you write about it, though.

I know how they are only too well, I'm one of them.

Your anger and disheartenment prove you're just tired.

Staying in our city's become a misery for you.

I don't know what we should do. There you've got your own orchestra.

In Warsaw you'd have to start anew. I'll do what you want.

However I can't imagine living anywhere else.

He moved me, I think that's the right word.

He was my mother's friend, perhaps they even loved each other.

In his gestures, his posture,

there's still something dear and familiar.

I don't know what's his secret.

In Poland we all change together, in our own way.

Emigrants change along with the society they live in,

leaving small Polish details in speech and moves, as souvenirs.

As he came out on the stage and shook hands with concertmaster,

I could see my father dropping in for a coffee at Esplanade,

and saying to his friend: "My respects!".

I can't wait to be back.

I told myself off for not caring about the world's highlights,

for being sentimental, lazy and wasting this chance.

Although I don't want to, I'm going to visit Boston and see it once more.

Thank you! That's very kind of you.

No, thank you.

I just wanted to see you.

Look at you.

Look at you!

- You want an autograph after all. - My husband is a conductor.

- Where? - In Poland.

- That's where I was born. - I know.

Excuse me, it's my pen.

It's you again.

I'm glad you remember Poland.

I remember the Skulskis family. Their daughter was just like you.

The same hair colour.

I know that family, too It's my mother's family.

Your mother?

- What's her first name? - Anna.

- What did you say?! - Anna.

Please, tell her...

I'm sorry, my mother is dead.

And what are you doing here?

I play violin, I've got a grant.

My name is Marta.

Nice to meet you. Could I see you again?

- I'm flying home today. - Can't you put it off?

- That'd be impossible. - Please, try.

Try if you can. See you later.

You know what's the best?

That I reached him, I met him backstage.

I talked to him... He's an amazing conductor.

It's just...

We only got your telegram today.

Lasocki unwell, concert cancelled. Coming home, I love you.

Yours retarded...

See how I've missed you!

Why aren't you all here to greet me? Where's our child?

In there.

Marysia!

Come on, get up.

No time to sleep, when mum's home.

I haven't seen you for three months. Say hello...

Come on, give me a kiss.

I'll never leave you again. She doesn't want to say hello.

Come on, honey.

Listen, I've got present for you.

Where is it?

Here. Put it on.

Don't be silly.

Why won't you try it on?

- No... - Why must you upset me?!

You know I don't like doing it.

Take off my shoes, please.

I think they're too small. And the jacket's too large.

I can't manage anything without you.

It's so hot in here.

Is there a war going on in USA?

Why should you ask that?

You wrote about no one but women and Lasocki who's as good as dead.

What's wrong? Why are you so tense?

What's going on? Why this tension?

I'm just listening.

Than relax.

You were gone for three months.

But I'm back now and you should be glad.

I am glad.

I'll go and wash my hands.

Marta!

I fell something wrong is happening.

What?

I fell something wrong is happening!

I don't know what to do.

Give me a kiss.

One more.

Why are you looking at me this way?

I care about you a lot.

Run off to bed. Right away.

Why didn't you kiss me at the airport?

I wanted to save it for now.

I'm so glad I'm back.

Marta?

Marta...

Do you love me?

Do you love me?

I do.

Tempo!

Stop!

It's no good. Should be much more dynamic.

We keep talking about the master, Lasocki...

The point is to play well when he's here.

Once more, start from E.

Attention... And...

The pace, gentleman. Let's try it again.

Good morning, Rysiu. Please, take a seat.

Have you got a pencil?

Than note the same remark as always. There's forte.

Thank you for your advice.

And E!

All together!

Yes!

Man's struggle against fate.

Children...

I'll have to reconsider the bonus distribution.

It's unheard of.

The council should back me up, shouldn't it Rysiu?

I hope you get me.

We go on about the maestro. Has he come here yet or not...

I'm sure he will come.

We have to play it beautifully. Yesterday it wasn't too good.

We've done worse.

It's not about that. That's our chance, don't you get it?

There's no one bigger than him.

New York, festivals, wide world...

You need a bit of a...

He made his debut with the 5th Symphony.

It's a work we know and like.

His musicians are the best. But why should we be worse?

No reason for that. From E, once again.

But why has he come back? He's so old.

I don't understand why we should applaud a man

who's simply repudiated his origins.

I don't understand.

He left, achieved success I admit that.

We're all happy about that... Just a second.

But not to visit once in 50 years!

Are you playing or not, Mr Kwiatkowski?

I'm just saying...

Why do you care? Sit down and start playing.

That's what I hoped for. Quiet, please.

Who said it's time for break?

Tadzio, for God's sake!

And E!

That's right!

Exactly!

I'll tell you what.

Fate knocks at the door and it's opening...

And the conductor?

He walks out because he's had enough. Some parts are still not right.

It's our weakness... It's not even Beethoven.

It should be rough, dynamic, aggressive.

It would be even better to play men against women.

Once more, attention please. No more talking!

Marta...

- I speak Polish. - That's a surprise!

Our concertmaster... Władysław Kowalewski.

And our old timers...

We've been rehearsing the 5th Symphony.

May I?

Sit down, please.

We're going to start, ladies and gentleman.

Part 2, no.160.

I've not stopped you because something is wrong.

Far from it, you're very good.

Let's try again, from no.167.

Turn off the radio!

It's been so long since I heard that.

Excuse me but that's music, too. My memories.

Let's go back to work.

No photos! No one come in, unless I allow it!

Ladies and gentleman,

I've been given an opportunity to perform the 5th Symphony with you.

- Beethoven's 5th! - No doubts about that.

I always think that our old Ludwig

wanted to achieve more than just write a piece of music.

It seems simple and well known.

Obviously everyone knows it and likes it.

Why are we overwhelmed by it then?

It's so formidable, lofty... Hard to understand.

We just want to perform it.

But what does the music ask from us?

My young colleague

said he could hear fate knocking at the door in that piece of music.

Yes, but at whose door?

Let's leave it at that.

I'm very happy to have a chance

to perform this symphony with you.

And now part 2, no.160.

He's a great man and our compatriot.

It must've been a call of the heart.

He ran away once and now he needs a national stamp.

I understand that.

They say he's moody and unpredictable.

He cancels concerts for no reason? His agent is given hell by him.

Just between you and me, why has he come here anyway?

The important thing is he's here.

Can you hear him?

A grand old man absorbed in his work.

Get out of here!

He radiates electricity. I'm at a loss for words.

I'll take a walk. Look up the old places.

See you later.

He leaves it and I don't.

Why did you become a conductor?

Can't you remember?

No, I'm seriously asking you.

I've been talented, you know.

Unlike you, I didn't get violin for my 5th birthday from my grandfather.

I often wonder, whether you even like conducting.

You seem upset, impatient doing it.

He says that young conductors try to drill the orchestra

and that it's not right, because they should love it.

He was quite a playboy then.

He's had hundreds of orchestras.

You rarely talk to us about music, like you forgot or was ashamed.

He made everything clear, just by saying a few words.

Analysing works is for men of letters.

You want to tell me I'm worse than him? I already know it.

I don't get paid in dollars.

I just wanted to explain it to you.

He's conducting as if he was asking me whether he could do it,

and gave me time to think about it.

Don't be silly.

I'm just saying what I feel.

His conducting is a dialogue, a conversation.

Sounds great.

Did you have a look at his face while he was conducting?

Any other comments on my work? You should write it all down.

I didn't want to hurt you, it's just a new experience for us.

Sorry I don't excite you.

- Done the shopping? - Father did.

You should spend more time with Maria. She's always with grandpa.

It's conducting, you have no idea about it!

- Good afternoon. - Good afternoon.

Over there they're all potential soloists, with technique!

Not to be one also takes talent.

An orchestra like that works like a machine, they know it all, my dear.

- Good afternoon. - Do you need anything?

Thank you, but my father's seeing to it.

A conductor for them is just a companion.

The better companion, the better they play.

Because he feels nicer to be around.

They don't need teachers, though.

Here we have to start from scratch.

Starting with tone, basic discipline.

For God's sake!

It's like I said - he can afford to butter you all up.

He listens to us, works with us, smiles at us...

He said we really played well, that the concert is his love.

Stop it.

I talked to him after the rehearsal.

We were alone, he had no reason to lie.

He said we really played well.

- Where did you talk to him? - No reason to shout.

You're becoming too involved. Let's go.

I really did talk to him. He cares about the concert.

He wants the orchestra he performs with to play well.

Because this is the orchestra he made his debut with.

- It was a disgrace. - That's not true.

He was great, but he fainted.

He lost control and ran off.

They brought him back, my mum told me that.

And I know it from another musician, who played that night.

Your father would've told the story better, although it was 50 years ago.

Yes, my dear, Lasocki ran off.

He hid in the dressing room and wouldn't face anyone.

That's why he went abroad, focused on his career

and that's why his agents talk of wonders he does with his orchestras.

It's all rubbish, Marta.

There's a hundred like him worldwide, ten in Poland!

Just without the myth.

No, listen. He used to love my mum very much.

Before that concert she told him she was going to marry my father.

Hallo?

Has Mr Lasocki come back to the hotel yet?

Do you know if he's all right?

It looks like it?

I'll call again later.

He really...

He's come here to finish that concert.

For you!

You want to kill him.

I want to kill the myth.

I'll prepare something to eat.

Good morning, Marta.

Still locked?

There's no key. We'll have to wait.

Men don't like their wives to be more talented than they are.

- What's happening? - Good morning, boss.

Stop yanking at it! Where's the key?

It's gone. Why haven't you shaved?

Perhaps I could look for it?

Stay here. I'll do it.

Adam, we've found the key.

I didn't want to talk in front of Lasocki.

You know what they've come up with?

They want the concert of maestro to take place in the plant,

the one that is being built outside the city.

What about the acoustics?

That's not a problem for our Stormtroopers.

They've engaged the best professionals in Europe,

because that's the only kind available in Poland.

The concert will be an acoustic experiment,

that'll make the city famous in Poland and our country - abroad.

The plant can seat 10 thousand viewers.

The concert will be broadcast for the whole Europe.

We'll show them how we all love music in Poland.

Why are you so angry?

It may work. The concert-hall is too small anyway.

Don't put through any calls.

That's exactly what's so upsetting.

How many times have I asked for new instruments, apartments...

To attract some real musicians.

For renovating the hall.

There's never time nor money, appropriate documents, materials...

- But now Lasocki's come. - Then be glad there's a chance.

What am I doing? I'll be late!

I started having violin lessons as a child,

with a great teacher, prof. Jarzębski. Do you remember him?

I was even quite promising...

But in the Warsaw Uprising I was shot in the forearm.

Here I'm a second violin. The boss even likes me.

That's not important, maestro.

My violin is no good. The lower register is fine,

but the upper is flat.

In my opinion we should practise more.

I have no room to do that at home - I'm a single mum, I have no time.

I'm ashamed to admit the only place I can play is bathroom.

Speak up, otherwise TV won't get it.

Some orchestra, isn't it? We do our best.

But the audience... They're some random people.

Teenagers brought here by force...

Tell him your salary is in zlotys.

Bored pensioners... If there's an event, they call us.

We constantly feel we're not needed. Not wanted. And not loved.

It makes no sense.

We're playing for them.

Audience is what it is. All over the world.

You're the ones who form it, not the other way round.

Through your emotion, music and devotion.

Don't rely on their love. Rely on yourselves alone.

On your love of music and theirs. Now let's get back to work.

What's wrong?

I'd like someone to convey that to Adam.

No, Adam doesn't understand that.

Maestro...,

my name is Marta.

Anna was my mother.

What will we do, when you leave?

Time is up. You've been gargling for 15 minutes.

Three minutes.

Eat up.

You don't resemble your mother.

Excuse me, I'm here now.

Let's speak frankly, director. Can you rely on the orchestra?

Of course.

We're doing our best, of course the outcome...

is another matter. I think we'll be just fine.

I know, you've made a success out of it.

That's right.

I'm sure it's a good orchestra, but that's not the point.

We need to look at it in different scale - national, international.

I've already mentioned that to the director.

The orchestra's decent enough but, no offence...

It's so provincial.

We all want it to be a success. An important musical event!

And it's going to be an event. We've been working as never before.

All the musicians, me... We're working very hard.

They're so excited, they've been playing 5 hours and no protests.

That's not enough.

Not enough?

We're all committed. Here and in Warsaw.

Exactly.

We all mean well but that's not enough, you see.

We need deeds. Set things up properly.

I see. What do you have in mind?

Some say the event should take place in Warsaw.

To Warsaw?!

I know it seems radical. But that'd be good for you, too.

Just think about it.

Let's be honest, you're too good for this place.

A man of your talent!

Well, Adam?

No, sir. That's impossible. Absurd!

No, it is possible. Maybe just a bit awkward.

I'm telling you something must be done.

What more can be done? We've been working our humps off.

They really play well.

I can't turn my first violin into Jascha Heifetz overnight.

Even maestro can't do that.

Now you're starting to catch my drift.

A little rearrangement will make us all feel safer.

More confident.

And you lack that confidence now. And you do lack it.

Briefly speaking,

I'm sending you some instrumentalists from the Warsaw Philharmonic.

- Tudzicki, Grąbka, Wójcik. - That'd be great!

Are those people you could do some great work with or what?

No, that's impossible.

Why? It's already settled.

It's a slap in the face for our musicians, don't you get it?!

- Don't exaggerate. - I understand that.

You're very emotional about that and that's not necessary.

Let's be reasonable.

Why a slap? In Warsaw we consider it to be help.

A friendly act of help. We all care about it.

The Department of Culture has already suggested that to the director...

It's out of the question. Maestro won't agree.

Now you're not making any sense.

You think he'd rather perform with a weak orchestra?

He prefers playing worse, does he?

He knows them now, he's worked with them.

I can't even understand myself, what's happening here.

My dear director,

he won't even notice it's different people.

He'll just hear great music and think it's his magic baton.

And that's fine with us! What do you say?

Hello. Would you like to take over now?

- Me? - Please.

Let's start.

Here we go.

Eight bars before 141.

And!

The pace!

Right...

Don't combine the notes with quavers. From the beginning.

Silence, please.

We can do without coughing, crying or giggling.

No talking!

That's unevenly.

Stop! That's your fault.

You've been doing it for the last three years!

And you still can't remember my name. It's Anna.

Maestro remembered it right away.

I'm sure he did. No more arguments.

Careful or I'll lose my temper, Anna.

I'm sorry.

We'll see who laughs last. Attention, 141.

The pace!

How old are you?

- I'm asking you! - 23.

Then you've still got time. We'll be starting with you.

141, please.

Can you see the baton? Then react to it.

Once more.

That's better... Who told you stop?

- But maestro says we're good. - No time for debates!

Pay attention to the baton.

Wrong! Once again.

Wrong! Again!

Take the score home and practise in your office.

Now we'll try the viola entry. Not the 141, just the violas.

That's exactly it!

You're dreaming of festivals but you can't keep the pace!

Once again.

And again.

Second violins, please.

Wrong! Once again.

- Tadzio, what's going on? - My finger aches today, boss.

I'm not well, too, but I have to conduct anyway.

Start again. I know. Please...

That's good. That's what I'm talking about.

141 with upbeat.

Stop! Could you stop giggling?

Let's move on to B.

Please pay attention to what I say and do.

Stop! No more talking!

I'm sorry but it's impossible to work in this kind of atmosphere.

You're an inspector, atmosphere is your responsibility.

- Let's do it. - Mr Lasocki says it's great.

But I'm the director, I've worked with you for three years!

You were nothing, before I came along!

Start with B again.

It's just no good.

- I can see you're upset... - Me?

My only demand is good music. I don't have to prostrate myself.

That's really no way to do it, director.

Ready? 141 with upbeat.

Once more. 141 with upbeat.

Have you got it? Let's start.

Sir, you're treating us like amateurs.

You said it first.

It's offensive!

Tadzio, do you feel offended?

Exactly.

Offensive? You're simply amateurs!

What do you mean "leave"? I decide when the rehearsal stops.

You're bunch of amateurs!

A provincial orchestra.

Sir!

Amateurs!

Amateurs!

What's up?

Is it because you're jealous?

Jealous? Of a 80 year-old man?

I don't mean me but the orchestra.

A bunch of subservient amateurs.

They'll follow anyone who promises them a sweet.

Just a small sweet.

- Jesus... - What's the matter?

I know all those theories.

A conductor is a mediator between Music,

with a capital M, and the instrumentalists.

Between the orchestra and the audience.

I know the mystic stories about listening into your own orchestra.

That's an idea: they must stop drinking...

Be more punctual...

Not to be late for the rehearsal.

Adam, you never get drunk.

For God's sake, what's wrong?

Thank you.

Very well then.

I won't take part in that concert.

I won't because I can't.

Even if you forced me to, I wouldn't.

Tomorrow you'll dismiss me. I'll bring a sick note.

I'll be your way.

You made such a fuss about it that I can't do it anymore.

I've realized that if I try to play well,

you'll think I'm doing it against you.

For once in my life I really cared about something.

Marta? What happened?

Is something wrong?

Nothing's happened. I've just come to see you.

I'm sorry, you didn't expect me.

I'm here because...

Marta, please calm down.

I don't want to be calm! I've been calm all my life!

I'll ask them to bring the breakfast here, all right?

Oh...

Forgive me for disturbing you.

You shouldn't have come here.

I'm glad to see you.

Is your family all right?

That's where the concert will take place.

It's a bit rough.

Yes, acoustics is very good.

My dear colleagues, please, no tantrums.

I know you take it as an insult,

but we're all going to benefit from reinforcing the orchestra.

Just this one concert.

It'll be broadcast to the whole world.

TV crews from France, USA, England...

It's Beethoven after all.

- Anna, please! - You remembered my name now.

On the stage, please.

We play better than the musicians from Warsaw now.

Exactly - it's just reinforcement.

Take a look at this giant plant, besides it's Beethoven.

We don't agree, sir.

It's our duty - both civil and national.

Tadzio, you go first.

No, you can see what's going on.

It's the greatest masterpiece of all time, you must understand this.

Maestro's trusted you, you shouldn't disappoint him.

But we play very well.

Be careful there.

We've done our best for the orchestra to do well.

The small hall wouldn't have held a fraction of those

who wanted to see you.

That's why we decided to use this place.

Do you think people will come?

Of course! More than we have room for.

Then we'll play for them.

Close the cinema and bring all the chairs here.

But we'll be left with just one cinema.

People are complaining...

Who are these people? It's a different orchestra.

It's been reinforced so you can demand more.

It's not my orchestra.

I'm responsible for the orchestra!

Where's Marta?

She decided not to play.

- I did my best, maestro. - Best for you, or for them?!

Stay calm, I'm sure we're going to reach an agreement in a second.

Sit down!

Sit down, please!

Take your seats!

Everything will be fine...

Take your seats at once!

Everything will be all right, voivode. No need to worry!

What are you all doing here?

What do you mean? We're here to get tickets for the concert.

- Have you got room for me? - Of course, here you go.

- We'll see tomorrow. - You won't see that at the concert.

- See what? - That.

They've never played so well.

- They play and cry. - How do you know?

Lasocki does nothing, only raises his arm and they know how to play.

- A miracle? - It must be.

- I hear they don't go home. - Don't eat or sleep, right...

- I've heard they kiss his hands. - Don't be silly.

I would be kissing a man like that, too.

Good evening. My name's Pietrzyk.

I'm the director of the local philharmonic.

- Can we see Mr Lasocki? - Mr Lasocki is not here.

We've been calling him, we're worried.

He left his luggage and went out.

Maestro, please, I'll play... Everything will be all right.

Please forgive me, maestro, you were right.

We're going to send the musicians from Warsaw back.

Maestro...

Maestro...

Jesus, call an ambulance.

Faster please, gentlemen, a stretcher!

Who was he to you?

Does it matter?! What do you want from us?

Who was he to me?

Who was he to me?

I don't know.

They're filming us, we should go.

How did it happen? Were you here?

Take that...

So you've heard.

Yes, I didn't think he'd be the one to go first.

Are you going to perform?

We must.

He's going to be conducting, right?

He'll be pleased. That could be his break.

Marta...

Leave him, before it's too late.

Leave here and run away!

Before he ruins your life.

He's not going to achieve anything but he's going to torment you.

How do you know?

Because I was just like him. Proud and stupid.

Cowardly. And today...

Today...

I won't leave him, dad. Just like mum didn't leave you.

He needs me.

Mum stayed with you, not Lasocki. And not because you were strong.

On the contrary - you were weak and she knew she shouldn't leave you.

Our Father, Who art in heaven Hallowed be Thy Name...

Thy kingdom come, Thy will be done,

Thy kingdom come...

On earth as it is in heaven.

Stop it.

Hit me, my dear Marta!

Punch me in the face, please.

Calm down.

I wanted to kill him because of you.

Listen...

Don't you think you overestimate yourself?

It's stupid and in bad taste.

He was simply old and sick. Perhaps he came here to die.

And that's exactly what happened.

Stop behaving like an idiot and grieve for him.

Do you despise me?

Listen to me, the concert's tomorrow.

We should all play the best we can.

And you must conduct. That's all we can do for him.

Now we should get some sleep.

You won't stay with me after all this, will you?

I don't know.

Are you going to take the child away from me?

Stop it, calm down.

You hate me.

That's not the point.

What is the point, then?

It wasn't me or the orchestra you were jealous of.

That would've upset you at worst.

You were envious of music.

Because those who love it are free. And you're not.

For you music's never been an end in itself.

It's just a mean to... I don't know what.

Position, power, fame...

Something to lift your head above the swamp, as you called it.

It's not your fault, that's what you've been taught.

People who do not love what they do are not free.

They don't pose threads, because they're dependent.

On critics, authority's acknowledgement, money...

You can be bought and sold.

That's why music and conducting are so tiring for you.

Because it's the least important part of it all.

You despise yourself.

But you can't admit it, because you can't change it.

That's why you're vicious and chaotic.

You want to nip everything that's vital in the bud.

You want us all to depend on the fiction you're dependent on.

That's the source of your complexes.

Everything was fine, when everyone was just like you.

But suddenly you met a great man. You got scared, you understood.

That's what triggered the hatred. That's all.

Quit this profession.

There are others where you could use your hatred.

THE END