How to become the most famous John Paul in Polish history, or at least in the year 1670?

This quasi-documentary and satire-filled series is taken on tongues for a reason. In addition to being a technically very well-made series using the resources and capabilities of Akson Studio and Netflix, it is also a commentary without ceremony relating to the present day. Aside from the obvious and jumping to the forefront sarcastic “plays” such as the name of the main character or several Polish stereotypes that form the characterological makeup of almost all the characters, we are dealing with something deeper and, above all, more interesting than at first glance. I am not in any way offended by a few historical inconsistencies, which almost everyone commenting on this series points out. They are not in the least relevant to the enjoyment of the screening of 1670. Almost every joke, colloquially speaking, “hits,” and situational humor, being at times self-ironic for the very form of such jokes, is (it would seem after a few episodes) an integral part of the series.

Such a production should not be taken seriously upfront, after all, most of the elements, whether cited in this text or not (but equally important for the construction of “dry” jokes and sarcastic references), take care of our sense of humor. Nevertheless, it is impossible to pass indifferently by the “bigger issues” raised. Whether concerning the social structure of Poland and all sorts of trappings of its citizens, or next to the already universal issues of equality, environmental protection, women’s rights, religious tolerance, politics, or correctness. The cumulative nature of the topics covered, gives the impression of the relativity of the series, yet everything “takes place” in the second half of the 17th century.

There is no shortage of neighborhood mischief like from the series of films All Friends Here by Chęciński and Mularczyk, as well as many other easter-eggs and references to Polish history, cultural works, and traditions. Despite dipping into “more serious” topics, the series never treats the content, as well as the viewer, in a truly serious manner. The lightness in the message allows for a fairly easy assimilation, and the attention to detail and excellent camera work makes it possible to think that every scene is a baroque painting.

In his ambitious mission to become the most famous John Paul in Polish history, Bartlomiej Topa is accompanied by Katarzyna Herman (as his wife, Zofia), Dobromir Dymecki (brother of main character – Bogdan), three beloved children played by Martyna Byczkowska (Aniela), Michal Sikorski (Jakub) and Michał Balicki (Stanisław). Andrzej’s eternal rival is played by Andrzej Kłak, while Kiryl Pietruczuk plays the role of Lithuanian peasant Maciej. In addition to the “main” characters, the series offers very well executed supporting roles.

To write the script of “1670” Jakub Rużyłło was inspired by reading the book The Phantom Body of the King: Peripheral Struggles with Modern Form by Jan Sowa. Although this work is less well known it undoubtedly reinforces the fact that the creators have consulted numerous literary and cultural motifs, and their work is admirable.

1670 to paraphrase English-speaking film reviewers is definitely a ‘good watch’. For fans of The Office (USA, UK, PL), Parks and Recreations, Trailer Park Boys or Cunk on Earth this is a worthwhile release. However, by its versatility and, despite everything, unconventionality for Polish conditions, it is something for everyone with access to Netflix.

1670 has already permanently entered the debate about Polish series with its recognition, and after less than a year since its premiere, many of the jokes and memes associated with the series have already stayed with viewers. Thus, we cordially invite you now to two screenings of the series during BNP Paribas Warsaw SerialCon:

• December 4 2024 at 3:45 PM in cinema room 6 of the Kinoteka
• December 7 2024 at 8:15 PM in cinema room 6 of the Kinoteka

Marcin Telega