Color is a Vitamin

Julian Stańczak

In the Studio

In an interview with Tomasz Magierski, the director discusses his documentary, 'Julian Stańczak. To Catch the Light'. The film delves into the mesmerizing world of Julian Stańczak, a seminal figure in the Op-art movement and a Polish-American artist renowned for his vibrant geometric patterns that play with perception.

Joanna Sokołowska-Gwizdka: During this year's Polish Film Festival in Austin, we will present your documentary film 'Julian Stańczak. To Catch the Light.' The film took 8 years to make. Why so long?

Tomasz Magierski: First, thank you very much for inviting the film to the festival. I am delighted that the audience in Austin will get to know the life and work of Julian Stańczak. I met Julian 8 years ago at a documentary film festival in Chagrin Falls near Cleveland. We met for dinner and discussed the potential film about him. A few months later, we conducted a three-day interview that became the foundation of the film's narrative, guiding our search for archival materials and shaping the film's concept.

At the same time, I was working on the documentary 'Przemyśl: Broken Dreams,' which reveals the unknown story of a teenage poet and writer, Reni Spiegel, who was murdered in Przemyśl in 1942. The film 'Julian Stańczak. To Catch the Light' is the second part of my Przemyśl diptych, describing the wartime tragedy of the Jews and the Siberian odyssey of Poles. Fortunately, these projects received funding from PISF (Polish Film Institute) and co-production from TVP1 (Polish Television) and FINA (National Film Archive – Audiovisual Institute).

The film presents the figure of a world-renowned painter, a representative of the art movement called Op-art, living in the United States but born in Poland, near Przemyśl. What about this artist captivated you so much that you chose to make a film about him?

Julian was born in Borownica, a village of a few hundred people. Later, the family moved to Przemyśl, where he attended primary school. At the age of 12, he and his family were deported to Siberia, and when I met him, he was already a retired professor from the Cleveland Institute of Art (CIA). So much happened in his life, not to mention art. Despite all of life's obstacles and dramas, Julian did not feel sorry for himself and had a lot of self-irony. His memories from the time of exile are from a child's perspective, not an adult filtering their memory over the years. This honesty in his account of his experiences led to the film's creation. Of course, it was also advantageous that Julian had a family album, which makes the film very personal. Art and his color theory are the film's second track, aiming to help the viewer understand his perspective on art and maybe start seeing the world differently.

In the film, we trace the protagonist's trajectory from Siberia, through wartime Africa, to the USA. With in-depth documentation that includes footage of General Władysław Anders, a key figure in Polish WWII history, and scenes of marching Junaks, a Polish scouting organization, did you make use of a significant amount of previously unreleased historical material?

The archival material concerning Russia is limited. Unlike the Germans, the Russians did not record their crimes. Most of the film archives come from the Sikorski Institute in London. I have a very good relationship with the Institute as I often use their materials, and this time they provided me with some photographs that I didn't even know existed. I also always use the collections of the Piłsudski Institute in New York, where I usually find the right photographs to tell the story. I must mention that these archival materials have never looked technically better than in our film, thanks to the work of our cinematographer, Maćek Magowski, who handled the post-production of the image. As for the paintings and family archives, Julian's wife, Barbara, has everything organized, and our collaboration with her has been and continues to be wonderful.

Julian Stańczak, as a child in Siberia, lost the use of his right hand. It's incredible that he learned to paint with his left hand. Did he discuss how, despite this disability, he chose to pursue painting?

It was a process. He wanted to play the flute, but that became impossible. I think that as a sensitive person, he wanted to find a way to express himself artistically. The disability only caused greater determination because he never wanted people to pity him. He also did not pity himself. At the beginning of our collaboration, we agreed that this would not be a film about a one-handed painter.

The painter gained fame after the "Optical Paintings" exhibition held at the Martha Jackson Gallery in New York in 1964. It was at this time that the term Op-art was coined. Did this exhibition open a window to the world for him?

Certainly. A year later, there was another exhibition at MOMA, "The Responsive Eye," which resonated even more worldwide. Julian's paintings are now in most modern art museums and are still exhibited in galleries worldwide. Just a few months ago, his work was featured at The Mayor Gallery in London.

The artist served as a painting professor at the Cleveland Institute of Art for 38 years. Considering his significant contributions, how was Julian Stańczak's legacy commemorated in the USA following his passing in 2017?

In Cleveland, a mural Julian created in 1973 has been restored. Barbara discusses this restoration in the film. Additionally, in downtown Cincinnati, one can find a 100-meter three-dimensional piece by Julian adorning a building facade. Lastly, there are plans for a bust of Julian Stańczak on the grounds of the Cleveland Institute of Art, though the status of that project remains uncertain at this time.

Regarding the painter's wife, Barbara Stańczak, whom you mentioned, she runs a foundation in his name. What is the main objective of this Foundation?

The Foundation promotes Stańczak's work, orchestrates exhibitions, and facilitates discussions on Op-art. Barbara is a sculptor and has always been Julian's primary art critic, so the foundation is in good hands. Next spring, there will be a major exhibition of Julian Stańczak's work at the Museum of Modern Art in Łódź. The Foundation is involved in this, and we will also show the film then. Another commendable endeavor of the Foundation is the publication of "The Stanczak Color Quarterly", a periodical updating readers on pertinent events and activities.

Did you befriend the painter? What kind of person was he?

It's hard to talk about friendship from a distance. I held immense respect for him. He trusted in my approach and the work I was doing. This trust is why he was so open with me, and by extension, with the audience and history, especially now that he has passed away.

Your film garnered an award at the Fates of Poles Festival in 2023. Could you share more about other screenings and the general reception of the film?

The film premiered in Cleveland at the CIA, where Julian spent many years teaching. It was attended by professors, students, and even Siberian deportees. At a recent screening in New York, a 100-year-old former gulag prisoner, Mr. Fryderyk, drove himself from New Jersey. Such screenings are always interesting to me because if people are moved by the film, they open up with their experiences, which is always intriguing for me as a documentarian. We have also showcased the film across Poland at various screenings and festivals. Currently, we are in anticipation of its premiere on TVP1 (Polish Television).

Interviewed by Joanna Sokołowska-Gwizdka

Tomasz Magierski

Director of the documentary: 'Julian Stańczak. To Catch the Light'

Documentary 'In the Name of the Highest Virtues' Chronicles the Boba Family's Brave Fight for Homeschooling During the Polish People's Republic Era

As Danuta Boba celebrated her 100th birthday, she was honored with the Medal of the National Education Commission for her contributions to Home Education. In the film, her daughter, Bożena Boba-Dyga, reflects on her mother's journey:

EXCERPT from Bożena Boba-Dyga (Kraków):

"On January 27, 1921, Danusia was born into the bourgeois Vašin family in Krakow. As you can easily calculate, she has turned one hundred years old, and what's more, she's still going strong. This round anniversary, which we usually wish for by singing "Happy 100th," became an occasion to recall her extraordinary story. After all, she was the only home educator during the PRL era when homeschooling was legally prohibited, and any resistance against the "people's power" was severely suppressed.

But first, let's clarify: homeschooling... what is it? It is an education based on the family, where learning, upbringing, and everyday life intertwine into one. It's an adventure in which parents not only teach their children, but also learn from them. Together they explore and discover new areas of knowledge. It's the parents who decide what, when, and how it will be discovered – you can teach only mathematics for a week, then humanities; there are no bells and compulsory class hours, you can adjust the lessons to the weather and mood. You can hire home tutors and have control over whom your child interacts with. Typically, such education is associated with a significant time saving, as teaching a child the basic curriculum required to pass state exams in specific subjects takes much less time than a school year. So, children have plenty of time to acquire additional knowledge, develop creativity, interests, and passions. This form of education had been known for centuries and was popular before the war, but after the war, in Poland, the communist regime sought to educate a Homo Sovieticus; education was a tool for shaping the "citizen," so it couldn't escape control. Hence, homeschooling was banned, school attendance was made mandatory, and schools were standardized and nationalized, eliminating educational pluralism.

Danusia was a top student before the war, the best student in school, with "very good" marks from top to bottom on her report card. As a ten-year-old girl, she began tutoring. Sometimes, teachers asked her to prepare students for the entrance exam to the gymnasium or even to conduct lessons when the class couldn't understand a topic, especially in mathematics, in which the girl excelled and loved above all. Danusia also had other interests – she was socially active in the Marian Sodality, sang in a choir, and learned to play the violin. At first, she planned to become a journalist – she liked to write. But she quickly changed her mind and dreamed of working in a laboratory. She decided to apply to the Faculty of Metallurgy at the Krakow University of Mining and Metallurgy (where only a few women studied at the time). After excellently passing her final exams in 1939, she was accepted. However, she didn't start her studies – the war broke out. Danusia fortunately avoided being deported for forced labor in Germany. Her father, a master watchmaker, saved her by enrolling her as an apprentice in a guild. As an apprentice, and later a journeyman, she was safe.

From the beginning of the war, however, Dana bravely engaged in other dangerous activities – first, she was a paramedic in a field hospital set up for wounded soldiers by the Jesuits; then, during the occupation, she worked in the Polish Care Committee – she helped refugees and Jews. She saved three classmates from the Holocaust, including Irena Hoffmann from her class, who later moved to the USA. She dyed their hair and made false documents. Being a beautiful blonde and fluent in German, she was effective in handling matters in German offices. She also taught in secret gatherings, preparing three sisters Anna, Ewa, and Zofia Jachimskie (sisters of the later distinguished photogrammetrist from AGH, Prof. Józef Jachimski) for the final exams in Polish language, history, and mathematics.

In 1944, she met Bartłomiej Boba, who was 22 years older than her. Her then-fiancé, Waldemar, felt sorry for his friend, an old bachelor who was sick and had no one to even give him a cup of tea. Moved by the story, Dana sent a servant with a meal. The old bachelor, once he recovered, came to thank her with a bouquet of roses. For them, it was love at first sight. Dana broke off her engagement and, after just three months of acquaintance, married Bartłomiej. They shared similar ideals, passions, aspirations, and worldview. He loved science, knowledge, and community work. The war was still ongoing, but victory was tilting in the Allies' favor. After the war, it was proposed that Bartłomiej become the governor of Wrocław on behalf of General Władysław Sikorski's government. He was also a shareholder of the National Bank of Poland, so the future looked promising.

However, the Yalta Conference changed the course of history. Poland was incorporated into the sphere of influence of the Soviet Union. From the outset, Bartłomiej consistently opposed the communist system throughout his life. He saw it as founded on false premises. He disapproved of expropriation and considered the idea of communal property to be utopian and inconsistent with human nature. As time proved, he rightly anticipated that society would neglect or plunder the common good instead of caring for it. He did not trust the USSR, expecting terror from the Bolsheviks.

After the war, Bartłomiej temporarily became the director of the Agricultural-Mechanical High School in Kozy. However, he quickly fell out of favor with the authorities for refusing to remove crosses from classrooms and was punitively transferred to an agricultural school in Lenna at the other end of the country. In 1952, the eldest daughter of Dana and Bartłomiej, Bogumiła, reached school age. But due to their beliefs, the parents decided not to send her to a communist school. Two years later, the twin boys - Bogusław and Bogdan - also reached school age. They were also homeschooled by Dana. The authorities began to drag Bartłomiej through the courts and impose fines on the family. Initially, he wrote appeals, explaining his decision calmly and rationally. However, over the years, his appeals took on a more defiant tone.

During the Stalinist terror in Poland, the Security Service (UB) practically camped outside the family's home, subjecting them to constant harassment. Bartłomiej was often handcuffed and taken away at gunpoint. As a form of harassment and repression, the roof of the Bobas' residence was removed during winter under the pretense of repairs, but it was never replaced. They also faced a coal purchase ban in their name. One night, a former student of Bartłomiej's brought a load of coal, citing a dream his wife had about the children freezing. Despite all this, they stood firm in their beliefs.

Danuta continued to homeschool. She constantly improved her skills to teach all subjects to now four children, as another daughter, Bolesława, was born in 1949. Bartłomiej nurtured the children's additional interests, providing them with reading materials from his vast library and talking about history, nature, travels, politics, and religion. He also took care of legal matters. The family lived in poverty as Bartłomiej was denied the right to work due to his opposition activities. To make ends meet, they sold family heirlooms, including silverware, jewelry, and pieces from Bartłomiej's collection of art and books. Fortunately, they found support from people who believed in the same ideals and admired their resistance.

The regime tried to strip the Bobas of their parental rights, take away the children and place them in different orphanages or deport them to the USSR.

What became of the five home-schooled siblings? Bogumiła became a doctor, specializing in surgery and trauma orthopedics. After the fall of communism, she served as a Member of the Polish Parliament and has been a councilor since 2006. Bogusław, an artist, worked for TV Kraków and received awards for city beautification. Bogdan studied multiple disciplines and currently teaches in a Waldorf school in Kraków. Bolesława also studied various fields and is a teacher and lecturer. As for me, the youngest, I was homeschooled until primary school. During the "Solidarity" movement in 1981, my parents allowed me to attend one of Poland's oldest high schools. Later, I graduated from the Faculty of Conservation and Restoration of Art at the Academy of Fine Arts in Krakow and studied in Germany..."

Through the lens of the Boba family's resilience and dedication, 'In the Name of the Highest Virtues' serves as a poignant reminder of the enduring spirit of individuals who champion the right to educate in the face of adversity.

"Oświęcim to była igraszka "

Z Markiem Proboszem – odtwórcą tytułowej roli w filmie Ryszarda Bugajskiego „Śmierć Rotmistrza Pileckiego” – rozmawia Joanna Sokołowska-Gwizdka

Joanna Sokołowska-Gwizdka:

Zagrałeś główną rolę w filmie Ryszarda Bugajskiego Śmierć Rotmistrza Pileckiego (2006). Propagowałeś też tę niezwykłą postać w Europie, Kanadzie i USA. W 100-lecie odzyskania przez Polskę niepodległości, 11 listopada 2018 r. złożyłeś hołd zarówno Polsce, jak i jej bohaterom, występując w wyreżyserowanym przez siebie monodramie Ochotnik do Auschwitz: Rotmistrz Witold Pilecki na nowojorskim Broadway’u, gdzie zdobyłeś pierwszą nagrodę Best Documentary Show Award podczas największego na świecie festiwalu jednego aktora – UNITED SOLO. Czytałeś też Raporty Pileckiego z Auschwitz w amerykańskim radio w popularnym programie NPR – All Things Considered.

Później nagrałeś dla amerykańskiego potentata audiobooków całość Raportów z Auschwitz – 10 godzin dla audible.com. W kwietniu tego roku miałeś wystąpić w prestiżowej sali Living Arts Centre w Toronto, lecz pandemia pokrzyżowała plany. Mam nadzieję, że mimo trudnej obecnej sytuacji dla aktora, nie myślisz rozstawać się z Pileckim na długo.

Marek Probosz:

Po Toronto miałem zaproszenia na występy w Polsce, w Austrii, w USA. Zamiast tego wszyscy wpadliśmy w otchłań próżni COVID-19. Niemniej Pilecki żyje we mnie, jego nie powstrzymało Piekło Auschwitz, ja nie mogę osłabnąć przez wirusa. Pozamykane teatry, kina, opery, to gniecie nas wszystkich. Najważniejsze jednak, aby w tym wszystkim nie dać się opanować wirusowi strachu, on jest głównym winowajcą tragedii tego czasu, ludzkiego zniewolenia. W każdy weekend idę do ogrodu w Santa Monica i jak pacierz odmawiam tam na głos swój 60-cio minutowy monolog Raportu Witolda. Moja misja Pilecki trwa.

Zapraszamy na Culture Avenue do przeczytania calosci TUTAJ

“Bridging Urban America. The Story of Ralph Modjeski” (2016) – a documentary about Rudolf Modjeski

Documentary Filmmakers Driven by Passion: interview with Basia and Leonard Myszyński by Joanna Sokołowska-Gwizdka (Translated by Anna Boyet)

JSG: Given the success of the Helena Modjeska documentary, did you consider it a natural next step to make a film about the equally extraordinary and talented son of the artist, Rudolf Modjeski, and the bridges of his design that had an impact on the development of American transportation?

Basia Myszyński: The film about Rudolf Modjeski and the bridges of America was inspired by Janusz Płachta, an engineer of Polish descent, member of the US Army Corps of Engineers, author of the book “Artist in Concrete and Steel. Bridges of Rudolf Modjeski” that was published in 2016 (he was still working on the book as we began shooting).

Janusz Płachta spent the last 20 years researching Modjeski’s bridges, giving lectures, and publishing articles about them. He saw our “Modjeska – Woman Triumphant” documentary on PBS Chicago and considered us the perfect choice to make a movie about the artist’s son, and his tremendous contribution to the development of the US. He promptly secured financial backing for the project before, the start of production, to allow us to gather documentation about Modjeski’s bridges. Because of the sponsors, who included Eric Wintemute, Tadeusz Ungar Foundation, POLAM Federal Credit Union (Redwood City, CA), Modjeski & Masters, Inc., Piasecki Steel Construction Corp., National Steel Bridge Alliance, Polish American Congress Foundation, US-Polish Trade Council and Janusz Płachta himself, the film could become reality (a link to the complete list of sponsors is available at the end of the interview – editor’s note).

We were surprised that Modjeski designed more than forty famous bridges, and yet few people knew about it. His engineering imagination made Rudolf Modjeski as famous as his mother.

There were also other reasons why we were eager to make the movie. We wanted to tell a story of American development, American transportation, and urban growth through the lens of the accomplishments of an immigrant. In Modjeski’s days (i.e. at the turn of 19th and 20th century), American infrastructure was in a bad shape due to lack of maintenance, funds and vision. Given that context, we were able to shine light on the greatness of Modjeski’s designs that lasted for 75 years. It’s a phenomenal way to educate engineers and future city planners. Another important theme of the film is the melding of art and science. Modjeski was a virtuoso piano player, and a genius mathematician. He had a very strong bond with his mother, Helena Modjeska, which was an essential element of building his film image. And finally, we believed that the documentary would be a great way to show the Polish – American community in a positive light.

JSG: The film tells a well-researched story of a great constructor and the biggest bridges in the US. You uncovered archival images and recordings, including one of president Franklin D. Roosevelt and his wife Eleanor opening one of the bridges with Rudolf Modjeski. Were you able to find a lot of source materials in American archives?

BM: There are many collections that include documents related to Rudolf Modjeski and his work. The Modjeski & Masters Inc. company still exists, and has impressive archives. The main American archives in Washington, D.C - the National Archives and the National Museum of American History at the Smithsonian Institution – contain a number of records that relate to that outstanding designer. The Modjeski family also has a sizable collection of diaries, letters, and private photographs. Every big city that has a Modjeski bridge also has a library; there are also libraries of the engineering departments of universities, and historical societies that have photographs, correspondence, and publications that could be used. Archival newspapers that set the documentary in its historical context, are available online.

In the California State Archives we discovered fascinating and wide-ranging records of Modjeski’s design work. We used those findings in the segment dedicated to the Bay Bridge. An expensive and valuable film about the Quebec Bridge on Saint Lawrence River, the tragedy of its collapse, and the visit of the future king of England, was obtained from the Canadian Film Archives collection. A previously unknown recording of Rudolf Modjeski’s speech at the opening of the Ben Franklin Bridge on Delaware River was sent to us by a son of Modjeski’s last partner – Frank Masters. The family kept the recording in a safe, and even Modjeski & Masters, Inc. had no idea it existed.

Another accidental discovery that gave me goose bumps was a fragment of a film about the construction, replacement of cables, and opening of the Ambassador Bridge. That exceptional material owned by the Moving Image Research Collections at the University of South Carolina showed the dramatic story of building the bridge. The license was expensive but by using that unique recording we were able to tell the story of the Ambassador Bridge without having to go to Detroit.

The license to use the historic recording of President Roosevelt with Rudolf Modjeski was given to us by the UCLA Film & TV Archives. The search for source materials was difficult and time consuming but the outcome was worth the effort. Our only regret was that we were not able to locate a recording of the opening of the Broadway Bridge in 1913 where the opening and closing of a drawbridge was demonstrated for the first time ever, and Rudolf was a guest of honor.

Not all Modjeski’s bridges could be featured in the movie. The key was to pick the strategic bridges that would be educational, demonstrate the history of communication, and that would best highlight the unique engineering talent of Rudolf Modjeski.

JSG: You interviewed experts about Rudolf Modjeski and bridges in America. How was he perceived by transportation specialists?

BM: Most of our experts considered Modjeski an extraordinary man, an artist, engineer, innovator, and educator. The famous and respected Henry Petroski described him as someone who knew how to deal with the challenges of a competitive industry, who could win people’s trust, and as a result win bids for bridge construction. Rudolf Modjeski was also good at self-promotion. He was charming and vibrant, and yet disciplined and committed to his work. His success also benefited from his great listening and communication skills.

Several experts we interviewed pointed out that Modjeski’s love of art influenced the esthetics of his bridge designs. A few noted that coming from a wealthy family, and enjoying a high social status because of his famous mother gave Modjeski a boost at the start of his career. Others believed that he strived to identify economical solutions to problems, focusing on projects that would be “cheaper, safer, and more durable”. Modjeski was prudent but at the same time he knew how to take risks. Looking at problems from a broader perspective allowed him to apply his own criteria in risk assessment. He understood behavior of structural elements as well as human psychology, and the importance of both of those components in business. His employees worked hard to focus on details and identify answers. But it paid off. He was a man with a passion for construction, and a great respect for Mother Earth. He worked with future generations in mind.

Modjeski couldn’t stand arrogance, ignorance, and negligence. He was drawn to creative, educated people with unconventional ideas. He mingled with Europeans who had similar education background, and shared their experiences. One of our experts stated that Modjeski’s role of a chief engineer came with a great responsibility for his projects but at the same time afforded him an extensive freedom of designing, which meant he was able to implement anything he came up with. That approach would not be possible today because of an entire system of checks and official approvals required for each step of the construction process.

JSG: Which qualities of Rudolf Modjeski do you value the most?

BM: For me Rudolf Modjeski was a Renaissance man; highly cultured, educated, disciplined, and respected by his peers. I admired his individuality, spirit, and constant pursuit of perfection. He always strived to improve himself and his designs; he evolved as an artist, innovator, and engineer. For Leonard, Modjeski’s most admirable qualities were his courage to design such monumental structures, and intuition he applied to solve the most complex problems. Despite his accomplishments and renown, he remained humble until the end of his life.

JSG: What was Rudolf Modjeski’s role in the development of American transportation?

BM: Modjeski’s bridges transformed the urban landscape of the US, and contributed to the development of the transportation network throughout the country. With his unique skills, Rudolf was the right man in the right place at the right time. Contrary to many of his contemporaries, Modjeski was able to design all types of bridges – drawbridges, cable stayed bridges, suspension bridges, or any combination of those. His designs showed great concern for the natural environment and the surroundings of the bridge. He took into account all geographic and geological factors that could affect the construction, which required extraordinary resourcefulness and experience. His bridges contributed to the boom of big Northern American cities such as Chicago, New Orleans, San Francisco, Portland, New York, Philadelphia or Quebec City in East Canada. In harmony with the development of technology and expansion of the transcontinental railway system, Modjeski built multifunctional bridges capable of carrying heavy cargo trains, and later - vehicles across the US. He developed and patented technologies to make such performance possible, to facilitate a faster and more streamlined transport of goods. In the words of Gray Brechin of the University of California, Berkley: “By building this vast infrastructure, the New Deal brought the country into the mid 20th century”.

Modjeski’s contribution to building modern America cannot be underestimated, not only in the context of development of transport but also his implementation of new technologies, application of cutting edge materials, and ensuring employment of large numbers of workers during the Great Depression, which helped lower unemployment.

He worked very closely with government agencies and financial institutions, and owing to his great reputation the bridges he designed were built fast, sturdily, safely, and cost-effectively. And they continue to serve America.

JSG: The film has some amazing shots of bridges from land, water, and air perspectives. Was it difficult to show those amazing structures from so many vantage points?

BM: To showcase the design, engineering, and architecture of those super structures in all their glory we had to film them from every perspective. One of the biggest challenges from the point of view of logistics, finances, and cinematography was getting aerial shots from a helicopter to capture the bridges in full sun, suspended between the water, land, and air. Given Leonard’s skills and experience, he was the man for the job. But getting those aerial shots required a permit, in certain cases from the US Department of Defense, because of the military significance of bridges. We also had to seek city permits to film a bridge, and sometimes a separate permit to walk on the bridge. In some cases, filming a bridge required us to increase our insurance policy. We also had to pick the optimal time of the year and of the day when the light was just right, coordinate our shooting schedule with the city schedule, account for the regular daily use of the bridges, and coordinate everything perfectly with the incoming vehicle and train traffic or approaching ships. Sometimes we had three different cameramen shoot a bridge simultaneously from different angles. Leonard would be taking helicopter aerials in a very narrow 25 minute window, with another operator focusing on wide angle shots of a river bank, and the third one filming a large barge passing under a bridge. We also utilized drone cameras (e.g. for shots of the Broadway Bridge) and GoPro cameras. When filming the Huey P. Long Bridge, Leonard was strapped to the side of the bridge to get close-ups of incoming trains, and shots from inside of the steel frame. It was pretty dangerous. And filming on water was really tricky too, because of strong river undercurrents.

Shooting the Quebec Bridge also involved some difficult conditions, as we had to consider the high tides and low tides of St. Lawrence River. As the water receded, it revealed steel sections remaining from the tragic collapse of the bridge over 100 years ago. Leonard would then take underwater shots, and split shots. We got some spectacular footage!

And whatever could not be filmed we supplemented with animation to complete our story.

JSG: Where was “Bridging Urban America” aired?

BM: The film premiered at the global steel bridge conference organized by the National Steel Bridge Alliance - our main sponsor. After that, we showed it at symposiums, technical universities, Polish-American organizations, and prestigious clubs, such as the Union League Club of Chicago, where the movable bridges designed by Rudolf Modjeski play a crucial role in the city’s communication system. The film had screenings in various cities where Modjeski’s bridges are located, and the screenings were often accompanied by an expert panel. The Santa Ana Bowers Museum in California held a series of sessions entitled “Two Generations of Modjeskis – For the Love of Art and Science”, which included two screenings of the documentary. In July, the San Francisco Public Library in cooperation with the National New Deal Preservation Association and The Living New Deal, as well as the Labor Festival, put on an exhibition of the art of the New Deal. Our movie was presented as part of that exhibition.

Our domestic distributor - NETA (National Educational Telecommunications Association) distributed the documentary to the US public television stations, and it aired on PBS in Los Angeles, San Francisco, Portland (OR), Quad Cities, NY, Vermont, Quebec, Philadelphia, and in August – on WTTW Chicago. DVD sales are also doing well. We were also thrilled to have the documentary screened as part of the Day of Steel webinar for engineers seeking to improve their qualifications; taking a quiz about the film was part of their credit requirement for the course. The webinar screening was organized by the American Institute of Steel Construction, a prestigious organization that awarded Modjeski’s designs on three separate occasions – and that feat has not been matched by anyone else since Modjeski. Our goal right now is to sell the film to TV stations all over the world.

„MODJESKA – WOMAN TRIUMPHANT” (2009) – a documentary about Helena Modjeska

Documentary Filmmakers Driven by Passion: interview with Basia and Leonard Myszyński by Joanna Sokołowska-Gwizdka (Translated by Anna Boyet)

JSG: You were born in the US and attended school here. Then you went on to study at the Łódź Film School in Poland, and while there you met your future husband – Leonard. What made you decide to settle in the US?

BM: After getting married in Nysa in 1985, we moved to Southern California in 1988, and set up a photography and film production company SOLAR EYE COMMUNICATIONS. In our industry, California was the land of opportunities; there was no better place for a filmmaker in the world, and Leonard had always dreamt of living there. There was also the advantage of raising our children with the support of our family. Our oldest daughter Lara was born in the US, and spent two years with us in Poland. Our younger children were raised with the help of my parents in Orange County. We live and work in a great community, and that in itself was another important reason to raise our children here. They are all grown up now, and follow their own passions. But we never regretted our decision to settle in the US. 

JSG: What were the projects you worked on in California?

BM: Over the past 30 years we have worked for a number of different clients, including Walt Disney Records, Sony 550, 20th Century Fox, American Vanguard, St. Joseph Health, United Way, and numerous corporations. We shot documentary shorts, including Olivia Newton John in Benefit Concert, John Farrar Making Music, The Child Within, Segerstrom Farming Operation, and Beauty-Power-Passion and Riders in the Sky for The Making of Monsters, Inc. Sing-Along. We travelled all over the US producing promotional videos, TV ads, commercial photographs, and documentaries. I also had a brief stint as a film instructor at a prestigious art school in Orange County. We were able to make our living off film and photography. And over the last decade our primary focus was on documenting life and work of the Modjeski family.

JSG: What is it that fascinates you about documentaries?

BM: Getting immersed in real people’s lives, learning about their passions, and sharing their stories; that’s what’s absolutely fascinating. But making a documentary takes a great deal of experience, research skills, and personal relationships, like gaining the trust of the family members whose story we want to tell. That’s why we try to create a historical context, and uncover new facts, to be able to offer an unbiased portrayal of our subjects in their own environment, in a specific timeframe.

Another important aspect of making a documentary is seeking out and interviewing the right experts. A common thread that runs through all our films is the role of art, and its impact on our subjects. Another highly compelling aspect is melding art and science, as shown in “Bridging Urban America”.

JSG: Producing a documentary is a serious feat.

BM: We are aware of the crucial role of scouring documents, historical research, and license rights. We understand the tactics and sources of financing, logistics of production, deadlines, and marketing needs. For a good director, it’s all about the details. Later on, that magnifying glass approach to reality and truth is also projected on the screen.

But the primary reason we enjoy producing documentaries is making social impact, raising awareness, and highlighting problems, which may trigger positive changes in our real lives. For example, the core message of “Bridging Urban America” is to raise the issue of ethics and responsibility in engineering in the context of our safety; to underline the need for regular maintenance of bridges, given their indispensability for business and for the economic growth of the country. We are proud to work with filmmakers who shine the light on issues that are often ignored, taking risks as they try to get to the bottom of truth. The best films don’t merely document reality but also educate, inform, inspire, and trigger action.

I am a member of the IDA (International Documentary Association), and the organization has offered a great support for our films.

JSG: What triggered your interest in Helena Modjeska?

BM: My mother was an amateur actress, and she was fascinated with Helena Modjeska. They also had a lot in common. She collected books about Modjeska, and there were many times when I would pick something out from my mother’s library to learn more about that dual-nationality star. Besides, I love theater; I have a degree in acting, and stage experience. I studied how to build a character, how to embody a role.

As the centennial of Modjeska’s death was approaching it occurred to us that no movie had yet been made in the US about that great Shakespearean actress. And we were in a perfect position to take on that project. We lived a few miles from Arden - Modjeska’s historical house; the Irvine Langston library at the local University of California had a vast collection of source materials and letters of Helena Modjeska; Bowers Museum in Santa Ana boasted one of the greatest collections of personal items of the artist; and we knew Ellen Lee (who is no longer with us) – one of the top experts in Modjeska’s life and work in the country. And most importantly – we were filmmakers with our own production company.

But it was only after I read the actress’s memoir Memories and Impressions where Helena Modjeska speaks in her own voice and offers a colorful account of her life that I truly fell in love with her. I found her deep, personal, and insightful view of reality absolutely captivating. She paved the path to success for women on this continent. Modjeska and the US grew up hand in hand, and she enriched its culture. She portrayed diverse female figures, both historical and contemporary, creating a wide variety of characters and personalities. She performed both on the largest stages of the biggest American cities and on tiny stages in the most remote corners of the country. As one of the first female entrepreneurs, she showed women that they also had a voice. Modjeska proved how far actors can take their profession, and what mission they can accomplish. She was a remarkable individual.

JSG: So in a sense you became friends with her.

BM: Yes, at some point Modjeska and I established a bond, she somehow spoke to me. The qualities I most appreciate in people – nobility and compassion, Modjeska had them both. Beth Holmgren, a Duke University professor, an author of a book about Modjeska and a key commentator in our documentary, describes her as “an artist with a mission”. Right from the start Leonard had that vision of portraying Modjeska through a veil of innuendos, shrouded in mystery, since no living person witnessed her life and was able to offer us an actual account of what she was really like. I found an actress who had Modjeska’s qualities – she seemed to embody her personality, looks, and acting skills. And that’s how “Modjeska – Woman Triumphant” was born.

JSG: The Helena Modjeska documentary “Modjeska – Woman Triumphant” premiered in 2009. Tell us where the film has been shown, and how it’s been received by American audiences?

BM: “Modjeska – Woman Triumphant” aired on PBS stations, PBS Southern California, Chicago WTTW and WGBY in Massachusetts; it was screened at film festivals in Newport Beach and Paso Robles (where Paderewski had his ranch), and Polish film festivals in Los Angeles, Chicago, Ann Arbor, Toronto, and in Poland - at Two Riversides Film and Art Festival. It also had a screening at the Bowers Museum, Helena Modjeska Art & Cultural Club w Los Angeles, at the National Old Theater in Krakow, the Grand Theater in Warsaw, just to name a few.

In 2010 I received the best director award from The Women’s International Film & Television Showcase. Many commenters praised Leonard’s photography, the emotional film score by Mikołaj Stroiński, or the amazing interpretation of Helena Modjeska’s voice by Danuta Stenka. Reviews and publications emphasized the documentary’s richness and attention to detail, and a trove of historical facts it offers about Helena Modjeska’s life and her contribution to the development of theater and acting profession in the US. Appearances by four descendants of the artist were also touching. There is constant interest in the film, as individuals, universities (theater departments) and libraries continue to buy the DVDs.