“Klangor” – Father Never Gives up [Review]
Title: “Klangor” (TV Series)
Relase Date: 2021
Cast: Arkadiusz Jakubik, Maja Ostaszewska, Katarzyna Gałązka, Piotr Witkowski, Wojciech Mecwaldowski, Matylda Giegżno
The Polish series “Klangor” made for Canal Plus is certainly a production worth watching. The main criminal plot, i.e. the search for a teenage girl who disappeared under mysterious circumstances, is encased in a multidimensional narrative about family ties and secrets, but also about Western Pomerania, filmed in a dark, depressing aura. The strongest point of the series, in my opinion, is the central father figure, brilliantly created by Arkadiusz Jakubik. And although the production did not impress me from the side of conducting the investigation as “The Raven” did, I think that the player of the main role created such an evocative character that, together with Michał Żurawski, he can be counted among the outstanding father figures.
“Klangor” – another good Polish production
“Klangor” is already another great Polish series, made with attention to an interesting script, well-written characters and scenographic details, building a specific, and most importantly, Polish atmosphere of the production. The creator of the idea is Kacper Wysocki, known, among others, for his work on the famous “Belfer” with Maciej Stuhr. By setting the action of the series in the realities of Western Pomerania (the shooting was done, among other places, in Swinoujscie), we do not have the impression that this is a weak carbon copy of Western ideas, but a story that takes place next to us. What’s more, it doesn’t depict a coastline familiar from holiday postcards, teeming with tourist life and sunshine, but a bleak autumn landscape filmed in a low color code. These vast open expanses of endless sea and wild corners are an extremely interesting element of the series. For this is Pomerania at once familiar and unfamiliar – having some mystery and a non-stereotypical perspective to offer. Of course, the somewhat gloomy outdoors contribute to the atmosphere of the whole story, in which there are far more dark sides than bright ones. Finally, this power of the element, images of the wind-stirred angry sea, however, offer hope for cleansing and justice. For nature here is a kind of transcendent instance, higher than mundane human instincts.
In such realities we feverishly follow the fate of a prison psychologist, Rafal Wejman (Arkadiusz Jakubik), who almost single-handedly raises his two adolescent daughters, Hania (Katarzyna Galazka) and Gabi (Matylda Giegżno). Alone, because his nurse wife (played by Maja Ostaszewska) has left to work in Sweden, and from now on the family lives in constant dispersion. During his parents’ weekend absence from home, an unforeseen situation occurs. Gabi does not return home after a Saturday date with Ariel (Maciej Musiał). In addition, Rafal and his wife receive a mysterious text message from the girl, which shows that she killed her boyfriend, and his body is fished out of the water the same day….
“Klangor” – an arduous struggle against time
The narrative pace of “Klangor” is rather slow and at times tiresome. We witness long scenes of searching various rooms, wrenching through the forest, cruising on a boat. I think this is one of the weaker sides of the series, although I understand its motivation. It seems to me that the viewer is supposed to almost physically feel the fatigue and weariness of the search. He is supposed to experience the hopelessness and pointlessness of subsequent actions, as well as the disappointment of false leads. Meanwhile, more precious hours and days pass, and with each passing minute the chance of finding the teenager alive diminishes.
So frustration grows – of the family searching for Gabi, but also of the recipient. More than once it seems that the plot has stalled, although, of course, this is at the same time an opportunity to introduce flashbacks that clarify certain plots and events, as well as to flesh out the complicated relationships of the Wejman family. For this is clearly a family going through a crisis and facing big challenges. Until the end of the series, however, we are not abandoned by a faint hope, which tells us to believe in a successful resolution. It is that eponymous clangor – the cranes’ song that heralds the arrival of spring.
The series “Klangor” – a father in a dingy jacket
After the screening of the series “Klangor”, however, what stuck in my mind most was not the investigative process itself, but the character of the ready-for-anything father, sensationally created by Arkadiusz Jakubik. Both the criminal plot and the nature of the character bring to mind other serial heroes. Among them is, of course, Michal Zurawski from “The Raven,” but also Tomasz Schuchardt from “High Water.” It looks like the time has come in Polish film for great male creations and role models of fathers, who are worth looking up to and wonderful to watch on screen.
I think that Rafal Wejman is one of the best roles in Jakubik’s career, because he managed to combine different shades of one of the most difficult functions in a man’s life. His character is a father of maximum involvement, taking full responsibility for raising his daughters and also all household duties. Not coincidentally, there are long scenes in which Rafal washes the floor and dishes, does the laundry and vacuums. This is a complete subversion of the stereotype of a strong man who does not deal with such mundane issues. Closely corresponding with this image is the dingy yellow jacket, in which the protagonist parades around the city without a shadow of shame, although everyone makes fun of his clothing. For the jacket is the fruit of a lost bet with his daughters, and Rafal intends to keep his word.
So here we see a man of principle, but we also fear whether such a tender-hearted man will be able to cope with a difficult situation, whether he will be a sufficient support for his family. And here the viewer is not disappointed – Rafal, in defense of his loved ones, can be tough and ruthless. He does not give up to the end, he is the one who cannot show fear, cannot desert. When I looked at Jakubik’s character in “Klangor,” I was reminded of Zofia Nalkowska’s wise words from “Granica”: “The Father is not afraid (…) There must be one who is not afraid, who can shield from the darkness, in which everything is terrible and incomprehensible, from all the night of the world. Isn’t that why God is called Father?”.
