Success Is the Best Revenge | Chicago Reader

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Jerzy Skolimowski's follow-up to Moonlighting plays like a systematic reversal of its predecessor's classically unified style—it's harsh, jagged, and aggressive. The flamboyantly autobiographical story line features a famous Polish stage director (Michael York) struggling to mount a spectacular political happening to remind forgetful Londoners of the continuing Solidarity crisis, while his teenage son (Michael Lyndon), fed up with his father's posturing, plots some more direct action. Skolimowski allows the political and personal themes to collide, with fascinating results: this complex, often frustrating treatment of a complex, often frustrating moral and political dilemma ends on a deeply affecting note of family tragedy. With Anouk Aimee, Michel Piccoli, John Hurt, and Jane Asher (1984).

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