How I Fell in Love with a Gangster (2022) – Movie Review

It’s fun to want, but not forced. Maciej Kawulski no longer has to do anything. After all, he runs an organization that pays people to wash their mouths and earns more than they want to watch, and has created a box office blockbuster based on the best-selling erotic film written by a friend. as a whole, a complete man.

Therefore, the rumors about his desire to direct the film were met, partly as a manifestation of the impending crisis of a man in his forties, and partly as a full-length advertisement of the federation. And that’s because “Underdog” is surprisingly weak.

Not only did he leave the ring by wagging his tail, calling himself a director and screenwriter, but again standing behind the camera. And something unexpected happened: After the film “How I Became a Gangster”, there is a certain consensus that this man can make a film first of all. No. It seems that we are slowly witnessing the emergence of something like Kawul Cinematic World, because the film coincides with a new project that goes directly to Netflix, although only on an episodic level.

Although the subtitle of the previous plot line states that we are watching the real story, only “How I fell in love with a gangster” claims the right to describe the original events. We are dealing with the biography of Nicodemus Scotarczak, which is not so colorful, but clearly depicted with candles. He went through a poster filter similar to the last, Hollywood mythological tale of the genre from scratch to gangster about another criminal Zdzisław Najmrodzki.

But neither here nor there about the documentary, in any way. More important for Kawulsky are the impressive and demonstrative formal procedures, legends, optical fireworks and rock music, celluloid, almost boyish fantasies about the gangster ethos, fallen women and resurrected men who will not be crushed by any force. leading ball. Unless you compromise on unwritten rules about unclear content and origin.

Nikos, boldly portrayed by Tomasz Vlock as a balance between the ridiculousness of cartoons and seductive cabotism, is for him a self-created man who obeys the laws of the street, not the murderous PRL. In other words, you have to go against the flow to really live your life. Kawulsky has long described Nikos’ criminal excesses as joyful, neighborhood games. And sometimes someone gets hit in the head? It is difficult.

Therefore, it seems that the reason for the fall of the target anti-hero seems to have crossed the imperial line between the invisible, the allowed and the unseen. After the haircut, after the political transformation, Nikos crosses not only the prison threshold, but also the border of an unknown country with new rules dictated by the Pruszkow mafia and the Lodz octopus. However, this latest move, despite reliable assumptions, sounds false. In this sense, Nikos becomes an almost courageous rebel who challenges the socialist ice, but is defeated by angry capitalism.

Kawulski throws the reins at the very beginning and doesn’t think to stop, giving us a three-hour (!) Session, which is a kind of striptease of his portfolio of strengths and weaknesses, and the only thing he doesn’t do. the downside … is the lack of moderation. He probably filled all the treatments that came to his mind here, with no regimen or plan, except in place and often confusing style. The actors do as they please, especially Sebastian Fabijanski, who has always played the role of a drug lord, probably not a single sentence has been deleted from the script, but there was nothing that bothered the enthusiastic Kawulski, even if it was unnecessary. Because this is a project that was born out of the need of an open heart, out of a fan’s admiration for cinema, a plastic issue that can turn everything that comes to mind and money. But even an outstretched rubber band will one day break, and here the critical mass is probably obtained before half a point.

Kawulski rarely compensates for the lack of conceptual consistency, script accuracy, and directorial discipline with a clean screen. The film is uneven and suffocating due to the constant change of tempo, as if it is not intended to serve anyone but its creator. In addition to being a master of his own destiny and the film he raised, Kawulsky can shoot as he pleases and as he pleases, because, well, there is no need to do anything else, not even listen to anyone. But maybe he should.

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