“Walkover,” the 1965 film by the Polish director Jerzy Skolimowski, is one of the masterworks of the brash, youthful, and defiant cinematic modernism of the ’60s. If you’re in New York, you can catch it on Saturday at Metrograph.
. He also said that “Walkover” was one of the three films that he’d most want to write about if he were still a working critic , and praised Skolimowski for shifting between the “particular” and the “general”: “He describes the individual and the environment at the same time, and probably does it better than anybody else.”
Now that I’ve seen it, I’m not quite sure of Godard’s analogy but I’m entirely in sympathy with his enthusiasm: “Walkover” is indeed one of the masterworks of the brash, youthful, and defiant cinematic modernism of the mid-sixties, a film of a Polish New Wave that shares the insolence, the rejection of authority, and the energies of revolt that also mark the French New Wave .
Andrzej’s physicality is an image of Skolimowski’s own—the filmmaker himself was a former boxer, and one of the movie’s surprises, at six decades’ remove from the production of “Walkover,” is its distinct originality as a boxing film. It’s a form of originality that reflects Skolimowski’s depth of personal experience of the sport, his aesthetic audacity and craftsmanship, and the physical aplomb to realize them together onscreen.
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