'Passenger' is remarkable for two things. First, it is a film about Auschwitz concentration camp actually filmed in Auschwitz. Second, director Andrzej Munk died in a car crash at the age of forty before filming could be completed. These two factors have produced an unusual, chilling film that is surrounded by death.
The film begins in stills, as Munk had been unable to complete these scenes. The action takes place on a ferry, boarding in England, where a woman, Liza, notices the face of another that suddenly brings her past flooding back to her. The narration informs us that the film's director died and that we can only suppose we should interprets events in the manner in which they seem to unfold.
We are then transported to Auschwitz, which fortunately Munk was able to almost completely cover before his death. These scenes leave a powerful impression on the mind, not cowering from the brutality that existed there during the war. We learn that Liza was an overseer at the camp, responisble for the death of many, but that she became entranced by one woman and subtlely helped her survive the war. The shots here are often over-exposed and grainy black and white, giving the feel that we are watching documentary footage of true events, as the inamtes run around naked, pulled around by the guards and chased by dogs. The sub-plot is that Liza's favourite, Marta, has helped to hide a baby and that Liza has inadvertently assisted her. As the risk of her and/or Marta being found out increases, Liza begins to fear for her own survival as much as the Jews under her authority. Bravely, however, she is never portrayed as regretful or embarassed about the role she plays. On the ship, Liza can't admit her full responsibility to her husband, but at the camp she enjoys her power and authority.
The sense that the action is taking place almost as it would have, in the very same places where thousands died, is powerful enough but the knowledge that Munk was also killed gives a very eerie air to the film. We should not discredit, however, the strong performances at the heart of the film, with the subtleties of power lurking beneath both characters, as Marta is intrigued by how far she can push the favouritism afforded her.
It's not a masterpiece, although perhaps it might have been if it was completed as Munk had intended. He has been recognised as one of the most important members of the Polish New Wave, which pre-empted those of France, Germany, Britain and most of Europe except for probably Italy. I've mentioned before how I strongly I admire Polish cinema and I would again urge people to see this film, not just for its novelty value but also for its uniqueness and subtle power. It is very highly regarded by many film critics and seen as a landmark of Polish cinema. I personally wouldn't go so far but I can't deny it has a special something.
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