The Hour-Glass Sanatorium
| The Hourglass Sanatorium | |
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Theatrical release poster
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| Directed by | Wojciech Jerzy Has |
| Screenplay by | Wojciech Jerzy Has |
| Based on |
Sanatorium Under the Sign of the Hourglass by Bruno Schulz |
| Starring |
Jan Nowicki Tadeusz Kondrat Mieczysław Voit Halina Kowalska Gustaw Holoubek |
| Music by | Jerzy Maksymiuk |
| Cinematography | Witold Sobocinski |
| Edited by | Janina Niedźwiecka |
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Production
company |
Zespół Filmowy Silesia
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| Distributed by | Film Polski |
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Release date
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Running time
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119 minutes |
| Country | Poland |
| Language | Polish Yiddish |
The Hourglass Sanatorium (Polish: Sanatorium pod klepsydrą) is a 1973 Polish film directed by Wojciech Jerzy Has, starring Jan Nowicki, Tadeusz Kondrat, Mieczysław Voit, Halina Kowalska and Gustaw Holoubek. It is also known as The Sandglass in English speaking countries. The story follows a young Jewish man who visits his father in a mystical sanatorium where time does not behave normally. The film is an adaptation of Bruno Schulz's story collection Sanatorium Under the Sign of the Hourglass. It won the Jury Prize at the 1973 Cannes Film Festival.
Joseph (Jan Nowicki) travels through a dream-like world, taking a dilapidated train to visit his dying father, Jacob, in a sanatorium. When he arrives at the hospital, he finds the entire facility is going to ruin and no one seems to be in charge or even caring for the patients. Time appears to behave in unpredictable ways, reanimating the past in an elaborate artificial caprice.
Though Joseph is always shown as an adult, his behavior and the people around often depict him as a child. He befriends Rudolf, a young boy who owns a postage stamp album. The names of the stamps trigger a wealth of association and adventure in Joseph. Among the many occurrences in this visually potent phantasmagoria include Joseph re-entering childhood episodes with his wildly eccentric father (who lives with birds in an attic), being arrested by a mysterious unit of soldiers for having a dream that was severely criticized in high places, reflecting on a girl he fantasized about in his boyhood and commandeering a group of historic wax mannequins. Throughout his strange journey, an ominous blind train conductor reappears like a death figure.
Has also adds a series of reflections on the Holocaust that were not present in the original texts, reading Schulz's prose through the prism of the author's death during World War II and the demise of the world he described.
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Wikipedia