“Perhaps we were misled by skillful advertising when we decided to send Father here. Time put back – it sounded good, but what does it come to in reality?”–Bruno Schulz, Sanatorium pod Klepsydra, 1937
DIRECTED BY: Stephen Quay, Timothy Quay
FEATURING: Tadeusz Janiszewski, Wioletta Kopanska, Allison Bell
PLOT: An auctioneer witnesses the activation of a sepulchrum for a deceased retina while Jozef visits his dead/dying father in the titular sanatorium.
WHY IT MIGHT MAKE THE APOCRYPHA: A film adaptation of the titular surreal short story by Bruno Schulz already earned a place on the List. Is another deserving? This version boasts the Jan Svankmajer-esque animation stylings for which the Quay Brothers are rightfully renowned (with the technique utilized more heavily than in their Certified Weird feature Institute Benjamenta). Wojciech Has‘ Hourglass Sanatorium exploited the dream logic of the story, with events frenetically shifting from scene to scene. The Quays, in contrast, excavate the idea of time held back for an unspecified interval, its “limbos and afterbreezes,”i creating a somnolent Sanatorium of vague and enigmatic impressions.
COMMENTS: Like many films by the Brothers Quay, Sanatorium is difficult to summarize. A seven part structure forms less a coherent story than a series of tableaux nested within each other. The perspective shifts among dutiful son Jozef, an auctioneer, and a mysterious female patient, J. Jozef’s visit to his father, at the sanatorium where the dead still live because time is arrested, serves as a frame narrative within a frame narrative, within which isolated occurrences taken from a selection of Schulz’s collected writings appear.
We first meet an auctioneer on a rooftop, beneath a sky of swirling clouds, soliciting bids for unusual and impossible items like the thirteenth month and exotic birds’ eggs (recalling Father’s ill-fated menagerie in Schulz’s story “Birds”). His audience consists of only two chimney sweeps, and when neither makes a bid, he lets them to get back to work.
In the house below, a maid prepares for the auctioneer’s arrival. As he enters the room, she removes the dust cloth from an object perched on a table : a pyramidal box with oculus windows in its sides and a little drawer which opens to display the glassy retina of an eye. The auctioneer explains the mystery of this rare sepulchrum—at a propitious moment the eye will liquify and shed seven tears, and the preserved sights contained within will become Jozef’s dreams as he succumbs to the sanatorium’s will to sleep.
The auctioneer’s frame is live-action, filmed in the gauzy black and white style of Institute Benjamenta, as is J.’s (and a few scenes where an actor, and not a puppet, portrays Jozef). When the scene cuts to Jozef’s ominous train trip (he’s uncertain whether or not his father lives, and this uncertainty will persist), we enter the Quays’ puppet theater. Their minutely detailed miniature sets, to use Schulz’s words, “exude an air of strange and frightening neglect.” The sanatorium setting, its vaguely nineteenth century atmosphere with faintly Continue reading APOCRYPHA CANDIDATE: SANATORIUM UNDER THE SIGN OF THE HOURGLASS (2024)
