A work in constant progress (and occasional regress).
Release Date:
December 25, 1974
Original Title:
Nie ma róży bez ognia
Alternate Titles:
nie ma róży bez ognia
Genres:
Comedy
Production Companies:
Wytwórnia Filmów Fabularnych w Łodzi
Zespół Filmowy "Pryzmat"
Production Countries:
Poland
Ratings / Certifications:
N/A
Runtime: 91
Janek and Wanda live in a small room in a villa, while other rooms are occupied by offices of various institutions. Janek often stays at work after hours, just to avoid returning to the cramped apartment too early. One day, a man named Malinowski, who once lived in the same small room, visits the couple. He proposes to exchange their room for a new, two-room apartment that he has just received. Janek and Wanda are initially distrustful, but eventually, the exchange takes place. It turns out that Wanda's ex-husband, Jerzy, already lives in the new apartment. Despite the divorce, as he is registered with Wanda, he has the right to continue living in her apartment. Janek tries to find a way to get rid of the intruder.
Art Direction:
Elżbieta Karwańska
Assistant Camera:
Józef Letkier
Aleksy Krywsza
Assistant Director:
Jerzy Owczaczyk
Camera Operator:
Andrzej Gronau
Co-Editor:
Aurelia Rut
Costume Assistant:
Jadwiga Rutkiewicz
Costume Design:
Anna Fedorowicz
Dialogue:
Stanisław Bareja
Jacek Fedorowicz
Jerzy Dobrowolski
Stanisław Tym
Director:
Stanisław Bareja
Director of Photography:
Andrzej Ramlau
Editor:
Alina Faflik
First Assistant Director:
Ludmiła Niedbalska
Makeup Artist:
Alfreda Bączyk
Music:
Waldemar Kazanecki
Music Consultant:
Anna Iżykowska-Mironowicz
Production Design:
Tadeusz Myszorek
Production Supervisor:
Stefan Adamek
Michał Szczerbic
Andrzej Gryczyński
Anna Rdest
Set Decoration:
Tatiana Manżett
Sound:
Leszek Wronko
Sound Assistant:
Zbigniew Przygodzki
Włodzimierz Wiśniewski
Zygmunt Nowak
Still Photographer:
Jerzy Troszczyński
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While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
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Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.