Abstract EN:

Although he produced fourteen feature films, has is less famous than his best known film, manuscript found in saragossa, adapted from the novel written in the early 19th century by potocki. When, due to the liberalisation of 1956, has had access to feature film, his formal research and his refusal to cover the ambi, guities of the thematic of the "polish school" contributed to marginalizing him. His adaptation of manuscript found in saragossa did not convince the specialists of potocki, although the film highly contributed to the novel's success. It is howe, ver "a more than faithful" adaptation. Its coherence and its creativity give evi, dence to the latent dimensions of the work and make this movie become a cine, matic game, as the novel is a game of literature. The transformation of the end, together with the paradox of the last "mise en abyme", corresponds to a reading imbued with borges. Has also discovered the mathematical system that structures the novel. He transposed it so that his film is completely ruled by a combination stemming from the "potockial system". The apparent withdrawal of manu, script. . . From the polish contemporary scene hides subversive content linked to poland with two particularly political allusions, tricky "adaptations" of the politi, cal allusions within the novel. This accounts for the troublesome life of the film, from a short version imposed on the pretext of a distribution issue, up to a third version in 1984, resulting from a political and religious censure. The withdrawal from the contemporary scene of his following feature films enables has to adopt aesthetics and political positions on the orientations of the polish cinema or on anti-semitism. Manuscript found in saragossa, an unclassifiable movie, is the starting point from which the gap between has and the polish cinema emerges. This "faithfulness to his faithfulness", paid by long silent years after the doll or the sandglass, is the main reason why has is so little known.