Między kontestacją „małej stabilizacji” a pastiszem etosu marynistycznego. Uwagi o narracjach filmu „Cała naprzód” Stanisława Lenartowicza

Abstract

Between the contestation of „small stabilization” and a pastiche of the maritime ethos. Some notes on the narratives of the film Cała naprzód by Stanisław Lenartowicz. Polish cinematography of the 1960s criticized the achievements of both Stalinism and the so-called Polish Film School. In the first case, for ideologizing the message, and in the second, for its excessive psychologization accompanied by a pessimistic vision of man’s fate. Domestic 10th Muse of Władysław Gomułka’s decade developed a passion for adventure novel and Cinema of travel. Polish cinematography began to pay more attention to film as an entertainment. The film Cała naprzód (1966/1967) by Stanisław Lenartowicz, discussed in the article, met these conditions, while at the same time being a light joke aimed at the everyday life of the People’s Republic of Poland in the times of Wladislaw Gomułka. The plot is based on the dialogue of two characters. Janek is a sailor who came to Szczecin to visit his beloved. He meets an old friend – Leon. The latter is a worker and works in a repair shipyard. Janek tells him about the overseas adventures he experienced.