Andrzej Korzynski Third Part Of The Night

As one of the most triumphant and beguiling directorial debut features to emerge
from the fruitful Polish New Wave, Andrzej Zulawski's 1971 film Third Part Of The
Night not only earned the 30 year old filmmaker a place next to other radical Polish
directors such as Polanski, Skolimowski and Has, but also galvanised a creative
bond with long running collaborator and composer Andrzej Korzynski, providing
fans of foreign abstract/suspense cinema with a potent creative fusion to match
those of Polanki/Komeda, Fellini/Rota and Argento/Goblin, amongst others.
Quite simply one of the heaviest psych rock film soundtracks of all time Andrzej
Korzynski's short and unreleased score matched the blueprint that adorned the
drawing boards of conceptual French jazz orch rock composers like Jean-Claude
Vannier, Francois De Roubaix and Alain Gourageur, creating a soundtrack that
unknowingly begs comparison to Masahiko Satô's Belladonna Of Sadness and
Billy Green's Stone. As one of the first progressive pop writers to come out of the
vibrant (but carefully scrutinised) Polish beat scene with his bands Ricecar and
later Arplife (and composing for national heroes such as Czeslaw Niemen,
Niebiesko-Czarni and Test) Korzynski’s growing passion for conceptual rock and
jazz music soon lead to instrumental composition and soundtrack scores.
His cinematic debuts scoring two consecutive transitional new wave films for
Andrzej Wajda (in collaboration with the radical Polski pop groups Trubadurzy and
Grupa ABC) also provided Korzynski with another significant cinematic muse in
that of the stunning actress Malgorzata Braunek with whom they would both eventually
achieve their finest performances under the direction of the ravenous first
timer Zulawski. Third Part Of The Night (1971) perhaps epitomises that triangular
on-screen unison in its vibrant youth and feeds it through a hallucinogenic mangle
finding astonishing beauty (within a repulsive synopsis) against a bleak and shattered
backdrop and accompanied by progressive, psychedelic orchestral rock
music - elements which would intensify for all three creatives with the next film,
Diabel, which was banned by the Polish government the following year until 1988.
Third Part Of The Night also marks the public unison of Zulawski and Braunek
whose later private romantic relationship is said to form the basis for another defining
Zulawski/Korzynski defining endeavour with the 1981 film Possession exactly a
decade later, encapsulating a period that bequeaths a previously unopened vault
of some of the composers finest and most inspired sonic adventures.