The Portrayal of Musicians in Dyrygent (The Orchestra Conductor, 1979), directed by Andrzej Wajda and Dotknięcie ręki (The Silent Touch, 1992) by Krzysztof Zanussi

This article examines the portrayal of musicians in Dyrygent (The Orchestra Conductor, 1979), directed by Andrzej Wajda, and Dotknięcie ręki (The Silent Touch, 1992), directed by Krzysztof Zanussi. It argues that these films are built on contrasts: between a Romantic musician, who creates music to express himself and convey some deeper truth, and a careerist, who makes music to improve his financial and social position, and between a Western musician, who fronts the greatest musical events, and a Polish one who acts as a midwife of this musical delivery, disappearing in the shadow when his or her task is fulfilled. It paints Poles as humble and noble, but ultimately denies them the right to self-expression, which –according to the authors of these films– is the most important human right