“Fairly?”
“One never knows about a man’s home life, or his inner life, so how could anything be certain?”
“I’m not certain of much, Kaz, except that you’ll never get me to eat fish eggs.”
“Here, comrades,” Vatutin said, easing up to us with three glasses. Ice cold vodka. One for the road, as you Americans say, yes?”
“Yes,” Kaz said, raising his glass. “To Poland. First to fight.”
“To Poland,” Vatutin said, downing the vodka in one shot, and licking his lips, his drunkenness showing through the veil of diplomacy and courtesy. His eyes lingered on Kaz before his jovial mask returned. “Come, the film is about to start. I will take you to your seats.”
I followed, feeling the warmth of the alcohol spread in my belly as a haze of dullness clouded my mind. Something told me to be careful, but I wasn’t sure why or of what or whom. Vatutin led us into a ballroom with a screen set up at one end. Our seats were up front, not in the first two rows with the bigwigs, but in the third, where Sidorov waited, chatting with Colonel Harding and Major Cosgrove. I would have been more impressed if the film was Casablanca. Some pea-brain diplomat had decided that French officials might not like how Vichy was depicted in it, so it was held back from the movies they sent to North Africa, and I never got to see it. The lights dimmed, and the crowd settled into their seats, the conversations and rustles of finery fading as the whir of the projector and the first seconds of static and flickering images of Russian lettering filled the screen. It went dark, and the opening credits rolled by in the odd undecipherable script, the opening scene showing a medieval village, with an old white-bearded guy center stage. Ivan Susanin, my guess. Everybody sang for a while, and then some soldiers marched in-the home team, from the reception they got. More singing. A girl, she looked to be Ivan’s daughter, was evidently sweet on one of the soldiers. They went up to Ivan, and the guy went through the age-old ritual of asking for her hand. Ivan said no. He wasn’t mad at the guy; he seemed to be explaining something to both of them. More singing and crying, until someone comes in with big news, and everyone celebrates. I think the kids can get married now. Scene fades to black.
Next, we’re in a castle. The music is different, more harsh and primitive. I glance at Kaz, and there’s a hard look on his face, as if he’s angry at what he’s seeing, so I don’t bother to ask him what’s going on. The guys in the castle are singing and dancing, whooping it up over something. I can tell these are the bad guys, by the sneers on their faces, dark, hooded eyes, and ominous lighting. Then the music kicks off into what sounds like a polka, and I know why Kaz has that look. The bad guys are Poles.
A messenger enters and sings out some news that gets everyone in an uproar. They pound fists on the table and look like they’re getting ready for trouble. So does Kaz, and I wonder when the intermission is. Not yet. We go to a humble peasant cabin in the woods. Ivan Susanin, the old Russian woodsman, sings some more, and the screen fades to a shot of a young noble boy being presented with a crown. Then I get it. The boy is the new czar, and the Poles don’t like it. Ivan is getting all weepy over the czar taking the throne, so it must be a big deal.
Ivan’s family gathers around him-his son and daughter, plus the soldier she wants to marry. He gives them his blessing, which is pretty clear from the smiles on their faces. I think it’s got something to do with the czar. Maybe no czar, no wedding? Ivan is crazy for the czar, that much is clear. They all sing more than is necessary, especially the son, until a troop of Poles burst on the scene. Bad guys again, with the sneers and leers. They point at Ivan and his family, and the image cuts away to the young czar, hidden in a monastery. Seems the Poles are on the trail of the czar. Maybe Ivan and company know where he is?
More singing, and I wonder how much they have to say. I’m following the plot and I don’t understand a single word. Ivan takes his son aside and tells him something, in a singing stage whisper. The son scoots out the door, and I figure he’s going to warn the boy czar. Then Ivan does some business with the Poles. Money changes hands, and as his daughter weeps, he leaves with them. What’s he up to?
A single Russian word appeared on the screen that had to mean intermission, and I hoped the opera was more than half over. The projector pulled the film through and the screen went white as the lights came on. Coughs and rustling sounds filled the air as people got up. Kaz was rigid, his fists clenched on his knees.
“This is an insult.” Each word loud, spit out between clenched teeth. “An insult!” Kaz stood, kicking his chair back into a couple of admirals who were making their way back to the booze.
“Lieutenant Kazimierz,” Harding said. “At ease. We are guests here.”
“You invited me here to see this?” Kaz said to Sidorov, pointing at the screen and ignoring Harding as he pushed by me to get closer to our host. “I did not recognize the name of this cleansed Soviet version, but this is A Life for the Czar, a fervent anti-Polish piece of propaganda.”
“Lieutenant, this is the first authentic Russian opera. I thought someone with your refined tastes would find it interesting,” Sidorov said, his hands outstretched at his sides, palms up, as if bewildered at Kaz’s reaction, as a crowd gathered to listen. “Yes, the czarist elements have been revised somewhat, but it is still the same opera. Just a harmless entertainment.”
“Interesting? Harmless? Only a Russian butcher would describe killing Poles as entertainment!” Kaz’s face was red, and he pushed by Harding, advancing on Sidorov, who stood motionless, waiting.
“Hold, Lieutenant!” Cosgrove boomed out, his loud mouth used to good purpose for once. “Do not embarrass yourself or your uniform.”
Kaz stood, trembling with rage, unwilling to push Cosgrove out of his way. “You’ll pay for this, Sidorov. I’ll see to that, God help me.” He turned and stormed by me. As I started to follow, I felt Harding’s hand on my shoulder.
“Stay here, Boyle. We don’t want to antagonize the Russians any further. One walkout is enough. Sit.”
“But, sir,” I said, as I felt his hand push me back into my seat.
“Sit,” he repeated. “No more food or drink. When the damn film is over, we clap and leave. I don’t know what is going on here, but we’re not going to give them grounds for an incident.”
“What was that all about?” I was surprised to hear Inspector Scutt from behind us. He was dressed in a well-worn tuxedo with a winged-collar shirt that probably was the height of fashion around the turn of the century.
“Nothing but a bit of a huff between the eastern Europeans,” Cosgrove said. “Temperamental, that lot. This all happened in the early 1600s, and it’s still fresh in their memories.”
“Lieutenant Kazimierz took exception to the story line,” Harding said, glaring at Sidorov, who was deep in conversation with other guests. “
I’m surprised he was invited at all,” Scutt said, “with the Russians and Poles at each other’s throats about their border claims and the Katyn Forest affair.”
“It was a personal invitation from Kiril Sidorov,” I said. “You were invited as well, Inspector?”
“I didn’t crash the party, if that’s what you mean. Yes, I was, and since my wife enjoys the opera, I was glad to attend. Can’t say I minded the food either. I haven’t seen some of those things since before the war. Enjoy the rest of the film. Strange, very strange,” he muttered to himself as he turned away, drawn to the call of the zukuski.
It was strange. Sidorov was a smart guy. He had to figure the opera would upset Kaz or any Pole. Did he see Kaz as a fellow intellectual, expecting him to rise above the propaganda and enjoy the music? The lights flickered, and the room soon filled again.