The other night me and my brother watched the bizarre Polish art-house science fiction film; On the Silver Globe by Andrei Zulawski. Upon watching the trailer I knew this had to be something I watched, a unfinished science fiction fantasy epic banned by the government, released almost 15 years after initial production in 1988.

Based off Andrei Zulawski’s Great Uncles novel of the same name, On the Silver Globe explores the psychological, physical and reality of pro-creating on a newly found (crashed on) planet. Both director and author in their respective times of activity had become disillusioned with western science fiction literature and films, believing that the principal focus in western productions was on the marvel of technological advancement rather than putting focus on the human psyche and evolution.

Focusing on the sound and music, my ear was drawn to the moments of extreme tension and danger. Andrzej Kornski the composer utilises a range of styles and textures to great effect. For one particular scene later in the movie, Kornski generates a wealth of tension through electronic sounds. The electrical signals in this particular scene remind me of using a contact mic on the millennium bridge, the way the signals dart and bounce around at random underlines the haphazard nature of the story. Below is the scene I have been describing.

I also noticed that behind the initial soundtrack Kornski uses what sounds like reverberated white noice or atmosphere for scenes on the ‘the planet’. Combined with the bleak visuals from Zulwaski and the atmosphere composed by Kornski, the new ‘home’ for the astronauts feels completely sparse, unwelcoming and brutal.

I find On a Silver Globe links directly to my research into Destructive art and creation through destruction. Thinking back to the films historical context, Zulwaski began shooting in 1976. This was to be the largest and most expensive Polish film of all time. As we know, the Polish government forbid filming after two years and began destroying everything associated with the production. This is our destruction. Ultimately from the destruction, Zulwaski was able to ‘finish the film’ and offer a movie unlike any other I have seen. Essentially the film is unfinished and broken up with commentary from the director explaining what was supposed to happen between the recorded scenes. This is the creation. Thinking back to my comments on ‘pictures vs radio’, the same principle can be applied to the structure of this film. The audience is invited by Zulwaski to use their own imagination and create the missing scenes for themselves, using his preserved visuals as stimuli rather than concrete footage.

I believe this is why I haven’t been able to stop thinking about this film. Due to its nature, after watching we yearn for a complete version, where Zulwaski’s cinematic vision is fulfilled. On the other hand, incomplete enables us to feverishly think up our own version. Intentional or not, On the Silver Globe is a work of art that truly engages the audience and stresses the balance between creation and destruction.