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[man] I knew when I made those Betamax films,
and sitting there...
[man 2] Oh, to warm it up?
[man] ...three hours, four hours a night,
visit after visit, accumulating into 200 hours.
The predators--
[man] I knew I wasn't making 'em for me.
[stammers] Maybe if somebody at the museum sees it and says,
"Wow, we need to rewrite the history books."
I survived tremendous hardships.
[man] I knew somewhere, somebody would find these tapes,
and they'd see what was on there
and make something out of it. That-- I knew that.
[static crackles]
[man] There are geniuses out there.
I found mine.
[static crackles]
[dramatic orchestra music playing]
[man 2] Opposing thumb created all the civilizations.
Commonplace people cannot stand the idea that he has such importance.
So they dig a hole between him and themselves.
So this is struggle...
between quality and quantity.
[water circulating]
[birds chirping]
[man] I never collected things because they were famous.
I collected things 'cause I liked 'em.
I grew up collecting comic books.
And when I got a little bit more mature,
I started collecting books on surrealism.
[horn honks]
[Glenn] One day, I was in a bookstore in Hollywood,
and headed towards the surrealism section,
and I see this brown spine.
What I thought-- It was a snake on the binding.
I thought, "What is this?"
The thing was 200 pages, full of drawings, photos of sculpture...
This is incredible.
"Hey, kid, are you buying that or are you just looking?"
I bought the book. It was... kind of expensive,
'cause it was from 1923.
And it was of a Polish artist. I didn't know Poland from Portugal.
Took the thing home,
read it 100 times, or just linger on a few of the pages.
I'd been visiting Robert Williams and Suzanne Williams
for... two, three years, by that point.
I took over the book, plunked it down. I said, "What do you think of this?"
[Robert] I belonged to one of the lowest phylums of art culture
that had ever come along in America.
A rather unsavory world of underground cartoons
that society considered novel pornography.
I couldn't have been more happy. [chuckles softly]
Glenn showed me the book by a sculptor named Stanislaw Szukalski.
Extremely strong artwork.
Nineteenth-century sculptors that were so famous
and so heralded, Rodin and stuff,
I don't think they could've held a fucking candle to him.
They couldn't have held a testicle to that guy.
You know, it's just remarkable. Um...
Uh, what was your questions?
[birds chirping]
[Glenn] One day, I walked into this bookstore in Tarzana.
And I knew this lady. I'd seen her before.
She had something pinned on the wall. It was a poster...
and it's Copernicus.
I didn't know who Copernicus was.
And I looked at it.
I see that snaky signature at the bottom.
I said, "What's this poster?"
And she said, "Well, there's a nice man that lives in Granada Hills
that frequents the bookstore, and he gave me that to hang up."
I thought, "Shit!"
[lively orchestra music playing]
[Glenn] I thought he was dead,
and he lives like five miles away from me. [stammers] Who would have thunk?
So she said, "You know what? Look him up in the phone book."
Am I supposed to look up
Salvador Dalí or Picasso in the phone book?
Go home, call him up.
This nice, low voice answers the phone.
"Hello?"
[Robert] Glenn asked me if me and my wife Suzanne
would go meet this guy.
[Suzanne] We met Szukalski at his own house.
This was probably the most intense meeting
of any person I've ever met for the first time.
[Robert] So I go over to this common post-World War II house...
And I kind of was ready to look up when the door opened,
and I had to look down, because he was shorter than me.
He was already 80, and I was probably 25 years old.
He shook my hand heartily, just iron grip.
I saw these plaster monuments, just...
in this little den.
[Suzanne] They were kind of all beat up, 'cause they'd been through an earthquake.
They were just absolutely fantastic.
[Glenn] It felt very European, because his wife came out and served tea.
[Suzanne] She seemed kinda quiet and reserved.
He was the opposite.
We didn't have what you'd call a conversation.
We were talked to.
[Glenn] It was stream of consciousness,
of information and visuals.
And he couldn't sit still, and he was incontinent with imagination.
Cyclops with one eye on the forehead.
Stuffed mattresses on the shoulders so they look like Titans.
In whole history of art, you will not find anything equal to this.
[Glenn] I could tell he loved it,
'cause I'm sure he wasn't having anybody else come around
at that time.
This a very strong arm. It's like a weenie, like a sausage.
...boastful and just say the most outrageous, outlandish things.
[crowd clamoring]
[Glenn] I think it was because I grew up watching Freddie Blassie
that I just thought it was hilarious.
You know, great men come along very seldom,
but I am one of the greatest that ever did come along.
I'm the greatest authority on any subject
that has pictographic value.
Anything anybody can do, Freddie Blassie can do 10 times better.
Just don't forget that.
I was the most renowned sculptor in America.
I never was referred to any other way, except as genius.
I remember distinctly going,
"I have the worst headache I've ever had in my life."
Because it was just so much so take in.
[Glenn] I thought he was amazing.
He would stand at a sculpture, tell you in great detail
all about it, why he made it.
This hand was more than four times larger than life-size.
[Glenn] Well, one of the things that struck me especially
was the work Struggle.
[Szukalski] It is somewhere in Poland.
But no one knows about it, because I live in Los Angeles.
[Glenn] Found out that it was missing, and I was so sorry to hear that,
because I just thought it was brilliant.
Jesus, you know! He's got a whole bunch of work here
that nobody's seen, and I don't know why.
Why is this guy left behind?
I would visit him alone, with people...
Like Ray Zone, I took George DiCaprio...
[George] He offered us a glass of port, but he was very careful to...
empty the glasses out,
and have all the marble dust fall out. [chuckles]
Uh, he was an amazingly fun guy.
You got quite a lecture for your money, I would say. [laughs]
When you met Szukalski, he would ask, "What's your nationality?"
"What's your background?"
You could say, "I'm Brazilian," or you could say, "I'm English."
And he had a reason to run that country down in detail.
[Szukalski] England never had conquerors who came and invaded.
England is an island of rabbits. Even rabbits can survive on an island.
Okay, I'm a rabbit. I can settle with that.
He was a very bigoted man,
but he was bigoted in a very unusual way.
You'd go to a filling station, or something,
and he would jump out of the car and go over to the attendant
and start measuring his arms.
He would refer to them as a yeti.
Troglodytes or Australopithecine...
It was... kind of quirky.
They have extraordinarily short arms.
Two short legs, long, long torsos, throwback to yeti.
You couldn't point out to him that this is kind of, like, a little...
you know, questionable. This is a little questionable, here.
At the time, it was kind of... kinda funny,
because of the fact that he believed so much of it.
Now, I'm not sure...
he thought people were lesser.
But I know he thought he was the greatest.
[George] He was such a contrarian.
He had no use for the entire gamut of human beliefs.
Most of the time, we would kind of humor him,
and we had no way of knowing what these things connected to
in his past.
If I knew back then what I know now,
I would have been compelled to warn my friends away.
[Robert] Glenn spent an awful lot of time with him,
but me and Suzanne spent enough time with him.
We were always calling each other...
Mr. Bray, Mr. Szukalski.
I had published books in the early '70s, but little comic books.
And I said, "We could do a little book, you know, on the cheap."
"No, no, no. I'm waiting for China.
I'm waiting for Swedes.
They're gonna do a big book on me." I said, "Okay. Uh...
But I'm-- I'm still here.
You know, I'll come back next week, and we'll talk some more."
So one day, I was sitting there, and we're discussing a drawing of his...
and I jokingly remarked,
"You just draw what you see, right?"
And he looked at me. He says, "Oh, you don't know."
[Szukalski] I was born in a little town in Poland.
This was... very long ago.
[Glenn] He says, "I was four or five, living in Gidle or somewhere.
My parents really let me do whatever I want."
He wanted to see how long he could look at the Sun,
because he loved the glow of the Sun.
Little did he realize that he'd burnt a hole in his, I guess, cornea.
All his life,
he was drawing and sculpting
with a big goddamn dot in his eye.
[Szukalski] So, when I was seven, I was carving figurines
for my harem.
I had about three, four beautiful girls my own age that I loved.
Only one way I could be nice to them was give them little sculptures.
And they called me a sculptor.
So ever since, I want to be a sculptor.
[Glenn] I'd ask him, "How-- how did you end up here?"
And he'd start to tell me,
and then he'd go into something totally different.
Mother was saying, "Oh, we must go. The train will leave without us."
But I came and got this piece of wood.
And I'm constantly attached to it.
I carried it to America.
[Glenn] Being around him countless hours,
you could kind of piece together his story.
Oh, I came to Chicago when I was 12.
I came with my mother and sister
to my father, a blacksmith in a factory in Chicago.
He was much smaller, shorter than I.
Because all Europeans are malnutritioned.
[Glenn] He told me he loved his father more than anyone.
He either showed me a picture, or I saw a drawing of his.
Then when he went to school, he decides to invent his own alphabet.
To me, it's like,
work over-laboriously on your writing...
Why do that?
[Szukalski] Schools distort our original inclinations
we have as infants.
Then we are modified, made commonplace, so we think like everybody else.
[Glenn] The principal went to the father, and said,
"Your son has to go by rules.
He can't just make up his own handwriting."
Basically, his father just said, "This is his writing,
and if it becomes illegible, then we'll talk about it.
But until then, he will not change."
And that crazy alphabet is what he used his entire life.
By that time, he's stuck with it. [laughs] There's no going back.
[Robert] You could see a childishness about him.
You know, you could see that nobody'd ever really
sat his fanny down and straightened him out.
[Szukalski] Bu-ga.
Zie...
[trills]
Ve-ghi.
Ghe.
[Glenn] He was obsessed with language.
[Szukalski] Whore.
[Glenn] He would tell us about words.
They would have all these different meanings
that were related universally.
[Szukalski] "Warship from elsewhere."
Not from this world, world that disappeared.
Fourteen thousand years back, right after the last deluge.
[Robert] We went over to his house, one time.
I dared to stick my stuff in front of him.
And he looks at it for a while,
and he said, "You're brilliant, but you have to get out of the gutter.
You have to get out of the gutter."
We had this kinship of craftsmanship
that kind of bonded us together.
We got to be good enough friends with Stanislaw that he would allow us
to call him his little pet name, which was Stas.
I really worshipped the guy.
This is like reaching back through time,
past the First World War, and pulling somebody out.
You'll never find this! Right out of those European academies.
This, I did this at Chicago Art Institute.
A sculptor advised my father to send me to Europe.
So I was sent when I was 14.
[Robert] And I was continually drilling him for information
about what it was like to deal with the academies.
He said that he came in as a young fella...
and he was too young, actually, but they gave him a test.
It was life-size girl, nude.
There were 171 candidates,
but there were only 11 admissions.
And I did nothing but end of her knee.
And off that alone, a stylization of that knee,
they said, "This kid is something."
[Szukalski] Professor says, "Gentlemen,
he is accepted without examination."
Then I got in a quarrel with Professor.
He says, "You either work from models, or you have to leave the academy."
I never worked from models.
Working from model destroys the talent.
I said goodbye,
[register dings]
and I left right that moment.
If you want to create new things for this world,
never listen to anybody.
You have to suck your wisdom,
all the knowledge, from your thumb.
Your own self.
[orchestra music playing]
[man] When I saw the works of Szukalski...
this was astonishing, you know.
All the sense of beauty, and of spiritual eroticism.
[man] The way he tortures, to me, tortures the body...
It's just incredible how he can push and pull, but it still makes sense,
and it conveys the emotion he wants to convey.
Art cannot be proper.
Art must be exaggerated.
[exclaims]
Bend down till your spine cracks.
You must exaggerate the likeness.
I look at the detail that he did,
and to know that he did his work in plaster...
the personal expression that he's bringing out.
I think he used sculpture
as a medium to show his soul.
I work faster than any sculptor ever could,
'cause I never hesitate.
I never alter anything, because I start with an idea.
Szukalski was the Michaelangelo
of the 20th century.
And probably, also, of an age to come.
[man] "I put Rodin in one pocket, and Michelangelo in the other,
and I walk towards the sun,"
Szukalski said in his powerful youth.
A movie is never any better than the stupidest man connected with it.
Out of the 70 movies I've written,
some 10 of them were not entirely waste product.
[Glenn] Stas used to tell me that he and Ben Hecht were real close,
and they would pal around on the streets of Chicago.
[Hecht] He was my own age, with a strongly muscled body
and a grace dominating his half-shabby clothes.
[Szukalski] Don't judge me, my feminine face.
Girls liked me with the long hair, and I relished it.
[Hecht] "Where did you learn your anatomy?" Wallace asked.
Szukalski began talking softly, his cat eyes half shut.
"I loved my father very much," he said,
"more than anybody in the world.
One morning, I came to the park.
He was not there.
Down the road, there's a crowd,
I go look.
It is my father. He's been killed by an automobile.
I drive the crowd away,"
Szukalski said,
"and I pick up my father's body.
I carry it on my shoulder a long time to the county morgue.
I tell them, 'This is my father.'
And I asked them this thing, which they did allow.
My father is given to me, and I dissect his body.
You asked me where I learn anatomy?"
Szukalski looked at us with pride.
"My father taught me."
[Szukalski] After my father was killed, I had no income,
Whole weeks, sometimes, where I had nothing to eat.
But I never betrayed to my friends that I was hungry,
and I never asked help.
[George] He was the classic tortured, starving artist,
and he got notorious for being a-- a bad art boy.
He was one of those guys. [chuckles]
He was almost like a punk or something.
There's some famous incidents of him having an art critic come to his studio
and tap something of his with a cane.
He threw the guy down a flight of stairs.
Art critics are parasites who absolutely know nothing about art.
[George] He had an exhibition of his own work.
Apparently, there was some objection to the political nature of it.
It was against British imperialism.
[Szukalski] Parasites have to get new nations to live off
because empire builders never have enough wisdom to create agriculture.
[George] The gallery demanded that he take them down.
And he marches in...
He wrecked the place. [laughs]
[glass shattering]
[George, chuckling] They threw him out, 86'd.
Maybe you're dealing with some kind of artistic Blackbeard the Pirate, here.
And the press constantly had articles about me.
[Hecht] "He has the nose of a South American anteater...
and walks like an escaped Frankenstein."
[Szukalski] Ben Hecht, when writing about me, described me as a youth
with sledgehammer comments. [chuckles softly]
[Glenn] Ben Hecht was Stas' biggest promoter
back in the 1920s in Chicago.
I know that he wrote that article for Vanity Fair.
[George] Even then, they talked about...
He seemed to think different than other people.
I really believe that the reason why he was so different
has got to do with the construction of his mentality.
I heard him mention that he especially enjoyed American jazz
because that was something that couldn't be taught.
It's a way into the way he thinks about things.
Art that is engendered within yourself is so important.
Not formalized, academic forms of art.
Very often, he described his own education...
which mainly consisted of looking at different things
from different cultures and primitive carvings.
He was attracted to the language that was embedded
in the image itself,
forming his own ideas and his own interconnections,
and which made him
the greatest autodidact of our age. [laughs]
He was thinking about the necessity for indigenous American art
that would be free of French or other influence.
[George] Mesoamerican cultural symbols attracted him in a magnetic way.
This was self-born art.
Wasn't imposed on them by a conquering culture...
There was a wonderful cross-pollinization
of styles and cultures.
[Rypson] So here we have Szukalski as a reborn artist,
who suddenly sees a potential
in developing national art.
His brain is one of the most singular creations
of the last century.
[lively orchestra music playing]
[Szukalski] There's an Aztec priest blessing blueprints
of young American engineer.
When there's a slight breeze of wind,
the whole monument will hum.
Which is a symbol of hope, because America is hope of mankind.
I proposed university tower between Mexico and Texas,
where they would form one culture that would spread to all other countries.
And here, I have this project and the monument will be humming.
But I don't know what to do with it...
in present America.
[woman] I was living in Holland at the time,
and my first husband was a comic book artist.
We came to the United States, and we traveled around,
met a lot of artists,
and, of course, we met number-one collector, Glenn Bray.
[chuckling] I thought Glenn was such an interesting guy,
very sweet.
So I just decided to stay.
I started taking her over there, and that made a world of difference.
[Lena] Glenn took me there.
I knew he was really, really interested in Szukalski.
And I had never heard about him before.
I was really blown away by the art that I saw.
It was absolutely beautiful.
And I noticed how sturdy he was.
He looked really, really, really strong.
And he had piercing eyes,
he had the most beautiful piercing eyes.
He was very enamored that she was European.
I was the rabbit.
[Lena] Well, Stas really liked me.
In the first place, because I was a woman,
and he loved all women.
In the second place, I came from Holland.
Holland had gone through the war and terribly suffered.
Therefore, Stas felt like he could talk to me.
[Glenn] That meant something to him.
She had the background of wars on her soil.
One day, he called me Glenn, and I thought,
"That's strange! Okay."
"Stas?" "Yeah, Stas."
[Lena] He always told us, the main reason he wanted to be an artist
is so beautiful women would be interested in him.
And it's the sex that brings us all the abilities we have.
You could tell that he was still very much alive in that area.
[laughing] I mean, he was really--
He-- he was so charming.
You just-- You loved being around him as a woman.
In a way, old-fashioned, but also, in a way, bohemian, too.
[Robert] I'm just as obsessed, but man, you know,
I keep it under collar, you know? [laughs]
To him, it was a poetic language.
It had to be expressed, you know.
I used to think, "Well, man, I can't wait till I get to be...
70 or 80, and I don't have to think about pussy anymore."
But it's obvious that you carry it to the grave, you know.
'Cause I'm 73, and I can't get it off my mind, you know?
Oh, this is just sort of a poetic notion.
Wisdom is given by nature, so my species may survive.
[Lena] Well, I always thought he fell in love with Helen Walker
because she looked exactly like him.
They had exactly the same hair,
exactly the same facial features.
It was like he was falling in love with himself. [chuckles]
All of a sudden, his life got a lot better.
She was very rich.
Her father was a famous surgeon in Chicago.
[Glenn] And this, for the first time, really afforded him
the proper places and tools and publicity to accomplish all his dreams.
[Lena] This is also when his two books came out.
They had a daughter called Kalinka.
[Glenn] Moved to California, moved to Hollywood.
[Szukalski] We bought very large house,
in outpost in back of Chinese theater.
[Glenn] He had a happy life going.
[Lena] Helen turned out to be frigid.
In sex, she would suddenly burst crying,
and thought that sex was evil, and that caused much troubles
and despair on her part.
[Lena] Stas said, "If I meet another woman who wants me, I'll go with her."
When Kalinka went to nursery school,
Joan was a teacher there.
[Glenn] Almost overnight, from riches to rags,
back on the street again.
[Lena] Well, he was very much in love with Joan,
and he wrote her the most wonderful letters.
[Glenn] Joan said, "You know, there's some 250
double-sided handwritten letters with erotic drawings."
And I said, "Well, can we see 'em?" She says, "They're just kind of racy."
And Stas would just kinda like... [sighs] Hmm...
[Lena] And that was the love of his life.
This is a portrait of my wife,
who had a very narrow, elongated face,
with whom I was married for 50 years
and absolutely never had quarrels with.
[Lena] I adored Joan.
She was just the most gracious, refined woman I had ever met.
Glenn and I would often visit Joan and Szukalski together.
And we just got along very well.
We were kindred souls, really.
Finally, one day, he looked at me. "The book. We publish."
And I said, "Sure!"
He gave Glenn, finally, permission to do the book,
because he thought I could handle it also, besides Glenn.
So we started out. I would do the layout.
I had photos of sculptures, a few drawings,
some poetry.
Stas showed me these photos.
And...
"Are you sure you want to put this in here?"
He says, "Let me tell you why I want to show this."
He made this monument
before Mussolini became a real, true Fascist
and hooked up with Hitler.
But Stas says, "I want to show this in the book because you should have...
pictures of anybody that changes history."
He says, "That's why we have carvings of Nero.
That's why we know what Hitler looks like. Don't forget these assholes."
He would type everything out. Everything is eloquent.
Although this might be here, that might be connected there.
Lena would get that and recompose it where it read beautifully.
It was my hopes that it would get into a museum,
and the museum would say, "Where's this guy been?"
Not to happen.
[Szukalski, singing] ♪ Grey horse is jumping ♪
♪ But my cat cannot do it Because she's too skinny ♪
-[Lena laughs] -[Szukalski] Wrote me a song.
Oh. [grunts]
This is first book that came out.
This is one of my sculptures.
These works are drawings of Sasquatch and Bigfoot.
[Glenn] We published Trough Full of Pearls / Behold!!! The Protong
in 1980.
I think I did 1,200 copies.
[gulls calling]
[man] It was in Santa Monica.
I found a copy of Trough Full of Pearls,
and I was just swept away by the scope and the intensity
and the originality of the thing.
I found, uh, this book.
This is the book I found.
How have I lived this many years and not even
seen any of these images before?
I kind of felt like that famous Bigfoot photo of him walking--
I was walking and saw it at the corner of my eye,
and I was like, "What is that?" And I looked at the book.
I would show it to everybody I encountered.
To people in line at the supermarket.
Because I was so convinced that this was an important thing.
[Glenn] Robert Crumb had called me through Robert Williams.
"Hey, I'm gonna start this new magazine
called Weirdo, and I need weird stuff."
R. Crumb was the George Washington of underground art.
I said, "I'm doing a book on this guy, Szukalski."
He said, "What's that?"
He picked out the stuff that would raise the most hairs on your back.
[George] For most, that was one of the first exposures
they had to his work.
One of the top sculptors in the world, and he's in a fucking thing like Weirdo.
You know, with people doing stick figures and shit.
That drug him into the Bohemian world, right there, you know?
Rick Griffin was one of what was called the Big Five psychedelic poster artists.
Shortly after I'd met him, he slipped over into being born-again.
When he met Szukalski and he saw that work,
he went fucking nuts.
The name he gave Szukalski was the Szuk, and he saw Szukalski as a god.
I think Szukalski like that.
[Jim] One of the reasons that I loved to visit Szukalski
was that he was a natural-born teacher, and he liked to, uh, show me things.
[James] The advice that he gave me, it almost seemed religious.
And most of the people I work with are not very religious.
He told me that, before you sculpt,
you should get down on your knees, almost in prayer to it.
I remember him looking at my painting,
and he said to me, "You know, this is worthless.
It's not saying something. You need to say something."
Concept make you a great artist.
Always remember that you have something to tell...
and you'll make a masterpiece.
And if you come to me, I'll kiss you on the forehead...
and pet your nose.
To me, Szukalski is kind of a mystic.
A modern master.
You know, what's going on in this guy's head must be vast.
Coming from a background of sculpting and makeup effects,
when he draws something, and it looks so 3-D
and the light's correct...
The math of space and light and...
bending the physics and the geometry and taking liberties
that are elegant...
and don't necessarily make sense in life, but they make sense.
[Jim] He and I shared an interest in frogs,
and he taught me how to make a little frog croak with my hand.
[fingers snapping]
You can actually go out and converse with frogs with this thing.
Hear it?
[snapping continues]
Stas was a guest at my house on many occasions,
and in one of them,
I left out a weather-beaten copy of his book.
He said, "Let me sign that one so you'll always keep it."
So here it is written in his hieroglyphics that no one can read.
"To Leonardo, wonderful son of George, love and a warning:
Please, don't grow up too fast." [laughs]
Stas Szukalski, 1981, Burbank.
[Glenn] Yeah, I think that really put some wind in his sails,
knowing that young people were once again...
drawn to him.
[Robert] We were his only fucking peer group.
The irony is, me and my underground friends,
the lowest phylum of art,
have become associated with this gentleman who, one time, stood up with the giants.
I'm sure if me and Rick Griffin
and a few of those underground artists were in Poland,
Szukalski wouldn't give us the fucking time of day.
Everyone can have their own Szukalski.
Obviously, some American comic writers' perception
might be missing the point altogether.
There is the whole story about...
um, wild Polish fantasies.
People in Poland associate Szukalski with the homeland...
purity...
the sort of meta-pagan, the pagan's pagan.
And treat him as this prophet.
He was a man who was creating art...
that was inspired by another dimension, you might say.
It is the dimension that is occupied by gods.
His work is absolutely temple art.
[man] You don't usually find so much megalomania,
even in megalomaniacs.
[whirring]
At the end of the First World War...
is the moment when Poland is recognized as an independent state.
And Szukalski saw, in the renewal of Poland, a great chance
of becoming a world historical figure.
[ship horn blows]
[Snyder] Makes perfect sense that he would want to go back.
[Hapon] Szukalski realized that Poland needed to create
a national art that would speak to its own soul,
its own nature.
[man, in Polish] The artists from Jednoróg (Unicorn) artist guild,
whom Szukalski knew from his years at Cracow's academy,
invited him to the exhibition.
[in English] At my exhibitions, I would attack academic education.
[Snyder] Szukalski says that the only thing which is true
are authentic ethnic heritages.
It's the Slavic World,
which is ancient and pure.
[Szukalski] Bigoted Catholics, they are enslaved.
Only those who are not religious
are real Poles and patriots.
[Rypson] Poland, in the '30s, is still cultivating
its traditional Catholicism.
There's nothing Catholic in Szukalski.
And I think this is another American trait in Szukalski.
He is very media savvy.
He's provocative, and he uses provocation very consciously, I believe.
[Snyder] Szukalski believes in the Polish romantic idea
that there's a single person who mystically embodies the nation.
He clearly believed that he was a national genius
in that sense.
I had been exhibiting
and causing quite much commotion in Cracow.
[Rypson] He had successful shows, became a sort of hero
-for the media. -[typewriter clacking]
[Lena] In a Polish newspaper,
it says 20,000 people visited the exhibition of Szukalski.
I have to have some booze.
At my exhibition, the young students came,
and they said, "There's a very large group of Catholic students
who are supposed to beat you
for attacking Church."
Now, we have agreed that we are on the side of God.
[laughs]
And I say, "Let us gather in a café where we'll form a tribe.
The tribe will be called the Horned Heart."
Do things only that you love or hate in your art.
You have to become a propagandist.
[Lechoslaw, in Polish] At the request of the master,
as these young ones soon started calling Szukalski,
they slowly started dressing alike
and having the same haircuts.
[Glenn, in English] I found his Horned Heart tribe sweater.
And I found his belt.
They'd probably sag on Pee-wee Herman.
Maybe he liked 'em tight. I don't know.
[man, in Polish] Szukalski was very similar to Leonardo da Vinci.
It was simply impossible to imitate him.
His followers tried to do it, with better or worse results.
Because you needed to have an imagination as Szukalski did.
He would sit down and imagine an object, instead of drawing from plaster or nature.
[in English] I always imagine the things I'm going to do, in every detail.
[Miezian, in Polish] Rotating in his mind, side to side, top to bottom,
until he chose the right angle.
And then, he would take a sharp pencil
and start making dots.
It was amazing.
[Rypson, in English] The vision that Szukalski had
of a great, powerful Polish state...
These are plans of a strange kind of megalopolis,
with huge highways and administrative buildings.
[man, in Polish] He yearned for a second Poland.
And that second Poland would need a new coat of arms.
[Szukalski, in English] Here, I have Polish eagle,
reduced to double-bladed axe,
that I proposed.
[Hapon] Szukalski is looking at Poland as lands populated by heroes,
populated by forgotten gods.
Which made him into...
kind of an artist-priest...
[Snyder] That has nothing to do with the actual historical reality
of Eastern Europe.
Szukalski's idea of truth is not factual truth,
but some deeper truth.
He so easily transports
decorations, ornaments, and symbols from pre-Columbian cultures
to these old Slavic cultures.
[Snyder] It's normal that a nationalist comes in
from somewhere else, and then overdoes it.
[Rypson] He takes on some ultra-Polishness, which is...
indigestible for most Poles.
They don't understand it.
National genius is not actually a job description.
From '26 to '35, Poland is led by someone
called Jozef Pilsudski.
And Pilsudski wanted a multicultural country.
There was a place for Poles and Jews and Ukrainians and everyone else.
That was not Szukalski.
[Rypson] For the anti-nationalistic, progressive critics,
Szukalski was the embodiment
of everything that is threatening in Polish culture, even stupid.
Newspapers reported, in Cracow, that I am returning to America,
and that I am disgusted with Poland.
[Rypson] So that ego killed
a lot of, uh, possibilities, although allowed Szukalski
to go on, on the path that he has decided to take,
which was not an easy path.
[Jim] He was on a mission
to establish himself as the world's greatest artist.
I was able to get him an audience
with the director of the Norton Simon Museum.
And we got into the inner sanctum
of this curator, and when the guy finally came into the room
and stuck out his hand, and said, "Mr. Szukalski, I--
I'm glad to meet you," Szukalski did not shake his hand,
but pointed at the paintings on the walls and said, "I see you have
excremental dabs by Pic-asso and Matisse hanging on your walls."
I call him Pic-Asshole.
The ultimate castrated failure.
And the curator said, "Well, thank you. Nice to meet you. Goodbye.
My secretary will show you out."
We walked out to the car,
and I said, "What was that, Stas? Why did you do that?"
And he said, "I'm not going to kowtow to these phony arbiters of corrupt taste."
He didn't seem to care.
When I see his work, it reminds me
of why most people become artists in the first place.
I love that, like, raw, like...
kind of punk-rock attitude that I feel like he was.
He's just like badass punk rock
who didn't give a shit what other people think.
Szukalski's worst enemy was Stas. You know?
That was his worst goddamn enemy.
It was at an art show
at the Otis-Parsons School of Design in Los Angeles.
And amongst the crowd, I finally spotted Glenn Bray and Lena,
and between them, a short man, five feet, a little...
He's looking at these rather popular works of art in the gallery.
"Fartists!"
You create art with capital F. You fart, you don't get art.
He never like anybody's work,
as far as I could tell, except for his own.
As an American, you have no cause.
You're a nobody that creates nothing.
[inaudible]
[Glenn] He has a TV,
there's movies,
there's... concerts.
He didn't think it was culture, you know.
[Szukalski] In America, the supreme civilization
that walks on the Moon, that tickles Mars...
But we have no culture.
People direct our interest from our heart, from our love, from our passion.
People get less and less intelligent
so that the predator can conquer us.
[inaudible]
We are being destroyed from within.
[James] One day, he did admit that he had worked on a movie himself.
He said, "I've never seen it."
He didn't remember the name, but it was something with a big gorilla.
And I thought, it couldn't be what I was thinking of.
So I said, "King Kong, 1933?"
He says, "Yeah, that was it."
He said he did some of the landscaping for the island.
[ape roars]
He says, "They paid me very well."
[George] By the early '30s,
Ben Hecht was really top dog in a lot of ways.
He won two Oscars, out of three nominations.
[Glenn] Stas used to tell me that Ben Hecht always tried to get him
into the Hollywood system.
First of all, he did a few things in some films,
but he had no interest in that.
He says, "I just want to do my sculpture. I want to do my work."
[man] Szukalski, at this point, was actually
a respected and active member of an art community.
[Robert] So he wasn't completely lost in Hollywood.
I just think he just scared the shit out of 'em.
[Tucker] He had an exhibition at the Los Angeles Museum.
[Lena] "A knot of visitors clustered about a short, muscular man,
with dancing blue eyes,
a mass of blond hair, and an aggressive nose.
The man talks rapidly.
The people listen as to an oracle."
[Szukalski] Director of the museum said
that the museum never experienced such crowds
as those that came to my exhibition.
[Lena] Szukalski was very successful in Hollywood.
But he was a patriot. He loved Poland.
So he always wanted to go back and be received with open arms.
So Stas and Joan went back and forth to Poland at least three or four times.
[Rypson] If we do not combine
Szukalski from America with Szukalski from Poland,
which, in a way, are two different persons,
we'll be left with half of the man.
In those days, he was a modernist.
I would say he was a cosmopolitan.
In Poland, he was taking on the garb of this weird nationalist tribe leader.
He probably has hidden, somewhere deep,
this Bohemian young artist from Chicago.
It's, I think, an identity process.
[dramatic orchestra music playing]
[Szukalski] There are three serpents here.
Their tails creep to the French girl, Marianne,
to destroy France.
But the rooster jumped in between the evil serpents and her,
saves her, and alters the course of history.
Well, maybe you could just show...
[Lena] This vision he had in a little apartment in Burbank,
it is so elaborate because he wanted to make it huge.
He wanted to have it put in front of the Notre Dame in Paris
as a thank-you to the French for giving us the Statue of Liberty.
[Glenn] Monuments are possible. I mean, how else do they get built?
Somebody comes up with the idea,
and says, "I want to build a big monument here."
In the '30s, Stas was commissioned by the Polish government
to build a huge monument.
What? Two stories tall? I don't know.
So he had every right to think, "Why not? This is possible."
[Rypson] Here, we have a different Szukalski.
And a different Poland, I think.
Europe is plunging more and more into nationalisms and militarisms.
Just like today.
[Snyder] Pilsudski has died in 1935,
and you have the so-called government of colonels.
They are following a much more authoritarian Constitution
that explicitly excludes non-Poles.
You have an ethnic authoritarianism.
Szukalski starts to be perceived as an asset.
As the person who can create a national art
that would have an aggressive element in it.
As a sort of an answer to Nazi art.
[Glenn] Around 1935, Stas got a summons from Poland.
[Lena] So Joan and Stas took all their belongings with them,
everything they owned, and they moved to Poland.
[Glenn] He took all his drawings, all his sculptures,
his life's work.
[church bells ringing]
[whistle blows]
[Hecht] He was given more commissions
than any sculptor could execute in three lifetimes.
The government gave him a studio
and proclaimed it a national Szukalski museum.
He was working on two pieces of monumental sculpture in his studio.
One was Boleslaw the Brave, the first king of Poland,
carved out of a single, big piece of dolomite.
And the other one was Monument to a Miner.
[Szukalski] I have been commissioned by Poland...
to build three-and-a-half story statue in bronze.
[Hecht] The critics of Warsaw
pronounced him the greatest living artist.
A triumph, as unique as the love and glory that once surrounded Michelangelo...
beat around him.
[Szukalski] This is the interior of windmill.
There was a windmill near the home that we had in the country in Poland.
[Lena] He and Joan were living in a country house outside of Warsaw.
He took a lot of beautiful photos of her.
I think that was really the happiest time of their lives.
[phone ringing]
[Szukalski] Then I had personal telephone call
from Minister Fischer of Nazi Germany
proposing that I make
project of monument of Hitler and Göring.
They saw reproductions of my work...
and they heard of my work.
At that time, Europe was not yet...
[stammers]
bitching about Nazis and Hilterism.
I said, "Oh, I'd be very happy."
So, I began to do the drawings.
[Glenn] So Stas says, "Well, I'll do it.
Send me the check."
Got the check.
Did this drawing.
Sent it off.
And he says. "It was a beautiful portrait."
[Szukalski] And I made a drawing of Hitler...
as a ballet dancer
in a little skirt, with his pug nose and mustache under his nose.
I received them back, however,
with polite saying that they don't think they can use the idea.
[laughs] So...
[Hecht] Whenever Adolf Hitler makes a speech
that individualism must perish from the Earth,
I always think of Stanislaw Szukalski.
I have a feeling that if Adolf and Stanley ever got together for a talk,
Adolf would end by fleeing into the night,
and renouncing all of his dark projects as a lost cause.
[George] Ben Hecht had written about Stas so glowingly...
he must not have known...
and was fooled like the rest of us.
You are a kind of person you are.
And I never betrayed,
I never did anything that would deserve to go to hell...
or be condemned.
[Lechoslaw, in Polish] Szukalski realized that the Horned Heart needed its own press
to express and defend its ideas.
So Szukalski started publishing leaflets.
Each of those articles was
aggressive language, invented words,
attacks on the Church, even anti-Semitic statements.
[Snyder, in English] He writes about people who like his work,
and they're all "nice," you know, "clean Poles."
And then, people don't like his work, he claims that they're Jewish.
[Rypson] Poles of the Jewish background, very assimilated,
played a very central role in Polish culture.
This was a fact that he had problems dealing with.
[Lechoslaw, in Polish] Szukalski thought that
economical and cultural branches did not prosper in a proper way,
because Poles were pushed away
by Jews who dominated them.
I don't know if this was his idea,
but they placed economic unity fliers
on Christian and Catholic shops
which were stickers with axe-eagles.
[Snyder, in English] Maybe that, by paying attention to it,
you and I and your crew are doubling the total readership Krak ever had.
[Lechoslaw, in Polish] Twelve issues were printed,
in small circulation, on cheap paper.
[Snyder, in English] The question is not, "Is Krak important?"
I don't think Krak was. The question is: "How does it fit in?"
The Polish authoritarian government was dancing a dangerous dance.
The public opinion, which is anti-Semitic,
is now allowed to rise to the surface
and become part of official government doctrine.
I think it's fair to say that Krak was partaking.
I think, in its very modest way, honestly, but it partook
in the creation of a general atmosphere among some Poles,
which made it easier for people to imagine a world without Jews.
As soon as you're in that world of imagination,
you're flirting with violence.
[George] When we started this documentary, no one had any idea...
that these things had happened.
We were all blindsided,
disillusioned.
Especially those who knew him in those days.
No, he was not the man that we had all envisioned him to be.
We lost a friend that never existed, I suppose.
And we also thought of Ben Hecht,
how betrayed he would have felt...
if he knew about this.
[Hecht] It is unprofitable
for the Jew to look at history's heroes or philosophers
without skipping a little. He is apt to only see monsters.
I suspect that if you examine any of these men carefully,
you will find he is no soul in torment,
but a coin with two sides.
He can cash in on his virtues
and his evils at separate counters.
[George] Szukalski, apparently,
shape-shifted to suit the situation.
Krak was published in Poland at the same time Ben Hecht was in America,
bringing the realization of the horrors that were going on in Europe.
[Hecht] I write of Jews today.
I, who never knew himself as one before,
because that part of me, which is Jewish,
is under violent and apelike attack,
with no friend in the world to cry "Shame!" or "Stop!"
[George] I believe Ben Hecht didn't know...
how Szukalski had disguised a lot of his beliefs.
This makes it a double tragedy. [sighs]
[Hecht] Prejudice is a symptom that can thrive
in the most acute and enlightened minds
as it can in the darkened thought of fools.
[Glenn] Stas told me that, one day, he was walking towards his big studio,
and he looked up above, and in the blue sky
he saw little puffs of white clouds.
[plane engine roars]
[engines roaring]
[siren wailing]
[Glenn] So he got to his studio, got inside,
and he ran to cover the statue of Boleslaw with burlap sacks.
[people screaming]
[inaudible]
[loud explosions]
[plane engine roars]
[Glenn] Roughly a fifth of the city is destroyed by bombing.
-[inaudible] -[Glenn] 25,000 people killed...
although it's almost completely forgotten.
[George] The studio was hit with a Luftwaffe bomb.
All of his paintings and sculptures and bronzes
were obliterated.
And Boleslaw the Brave toppled over and nearly crushed him.
[Glenn] He was buried under rubble for two days.
He crawled out.
Joan and he had an understanding,
they would meet at the American Embassy
if something happened, and they hid out in the basement.
He remembers going out and foraging for food.
You just didn't know...
how long this was gonna go on.
[Snyder] The German invasion of Poland was colonization.
This was a campaign to eliminate the Polish state,
and also to make it impossible for that state ever to exist again...
by eliminating the Polish cultural heritage,
and by physically eliminating, by exterminating, by murdering
the thinking classes and the political classes in Poland.
One of my Horned Heart boys, Boratinski, was executed by the Germans later.
[voice cracking] When I get emotional, my voice cracks.
[Glenn] He said, "Get what we've got, the two suitcases.
We're gonna get out of here."
And Nazis were coming in one direction.
So, all the Poles were running in that direction,
fleeing them. He said,
"Let's walk right through 'em."
As he and Joan we're leaving Warsaw,
he saw them machine-gunning the Orator.
[orchestra music playing]
[man] The bronze relief, Deluge (20th Century).
It has an image of a female lioness figure.
She's breastfeeding two children
who represent the United States and Europe.
And the European child is starving
because the breast has had two arrows shoved through it.
The tragedies that took place in Europe just run
like a consistent pulse or a sob through the entire
body of work of Szukalski.
[Lena] Stas and Joan returned to the United States
with only three suitcases.
[Glenn] Losing his life's work,
I don't know how in the world
he didn't have a mental breakdown.
This arm, this was the size of the sculpture.
This only sculpture of mine that I can show.
And I did 174 sculptures.
Hundreds of paintings, drawings, projects.
All this was looted, destroyed, or whatever they did,
so I have nothing left to show to exhibit my works.
[Glenn] He lost The Struggle, and I always wondered
what the other side of that moon looked like.
He never photographed the back.
I know there was hundreds of pieces that were never published
in those '20s books that nobody's ever seen.
After that point, you might as well say they cleared the slate of Szukalski.
Szukalski and Joan were very poor.
They always lived in very small houses, one-bedroom houses.
I think it came out in letters that, after the war,
Kalinka did not want to see her father.
Later, we tried to find her, and we could never find her.
[Szukalski] It is a project for a sculpture,
a father and his child.
[Lena] I don't remember where I heard this,
that Joan had been pregnant sometime during the war,
and she must have lost the baby. And they never had children afterward.
I felt sorry for her sometimes,
but I don't think she felt sorry for herself at all.
She really loved him.
And of course, it was a really hard thing for them to go through,
but I think she kind of took it in stride,
and I think she took it better than Stas did.
I have died in Los Angeles,
which I regard the cultural Siberia of America, Southern California.
[Glenn] Stas worked at Rocketdyne.
And Rocketdyne was a designer of rocket engines.
He made maquettes of landscapes and land maps for them.
You know, he might as well been working in a cannery.
[Szukalski] Living in Los Angeles, I became totally unknown.
No paper ever would mention me.
[Glenn] And because he had a Polish name,
he said that people didn't take him seriously.
He says, "What's with these Polish jokes?
We're stupid, we're lazy.
That's what they're throwing out there for people to pick up on."
Children of Europe that are in America. Second class, that you look down on them.
I am a foreigner in this country, always, even if I'm American citizen.
[in Polish] After 1957,
Szukalski was able to return to Poland to design a monument
commemorating the heroes of the Warsaw uprising.
Szukalski, per usual,
designed a great project on an enormous scale.
The competition did not end well for Szukalski.
[Szukalski, in English] Because Poles are the most envious
of human beings I have ever met in my life.
They would rather die than...
compliment a friend who does something well.
[Rypson] Szukalski, for very many years,
was a taboo issue in-- in Poland.
[Snyder] Polish Communism is installed in 1944 and lasts until 1989.
[Rypson] Szukalski was a nationalist.
That is something that was perceived by the Communists
as a potential danger.
[Snyder] Poland was impenetrable to him.
[Szukalski] Poles have destroyed me.
But America doesn't want me.
I am alone.
[crying] I am a patriot without a country.
I'm not a bigot.
I'm a patriot, American or Polish.
Because if you combine two, three nations,
your heart is larger.
Your capacity to understand is deeper.
[Lena] He believed in humanity.
The Szukalski from before the war maybe was different.
I don't recognize him at all.
[Glenn] Trying to get him to talk about his past was pulling teeth.
Stas never brought these old Krak books
or any other Polish materials that he did back in the '30s.
You know, I think he was probably-- maybe ashamed of it,
because he-- he didn't show it to me.
We see how we did.
Eight million Jews were exterminated by the predators.
I never heard an anti-Semitic word come out of his mouth, ever.
In fact, it was honestly the opposite.
[man] At one time, Szukalski,
as a token of admiration...
created one of his small relief plaques
of a menorah.
He inscribed in it, in Hebrew,
"The nation of Israel is alive."
[Lena] His view got wider
because he was living in the United States,
and he became more of a universal artist.
[Szukalski] This is the Citadel of Freedom
to commemorate martyrs that were defending their country.
Every relief will be a hero of one of the free nations of the world.
Well, Stas told me many times that he didn't believe in boundaries.
He thought if you were a citizen, you were citizen of the world.
[Szukalski] We usually scorn people whom we do not know.
Once we know them, we like them.
We even love them.
[crying] You should be large enough to take all nationalities.
[Glenn] He did a piece called A Spiral in the '60s.
You see footprints coming out of the mud,
growing at a snail's pace,
and it's building things, it's building cities.
And you go around, around,
and it evolves into a human.
Possibility of renewal.
[Snyder] What is Szukalski?
Is Szukalski a few passages in a journal which nobody really read in the 1930s,
or is Szukalski the whole life of Szukalski?
The California, the various friends, the re-imagination of-- of self?
So... I failed very badly.
And for last 40 years, I am no more a sculptor.
I had to give up my profession.
[Glenn] Didn't have a studio, didn't have materials, didn't have money,
and he saw another calling.
[Szukalski] I spent 40-some years
and made the greatest discovery that man has ever made
in human history.
Greater than Copernicus.
People in Egypt,
in Mexico,
in Greece,
Japan,
in Korea, in Tibet,
in Africa, in India,
they came originally from Easter Island.
From the land that is perished.
[Tucker] Zermatism is the name that Szukalski gave
to his huge project
of rewriting human history.
Anthropology and art history
and zoology and astronomy...
What Szukalski would do is pore through images in books
of ancient cultural artifacts from around the world.
[Lena] He would find magazines by trash cans and would cut out pictures.
He is searching all the time for the first element
that would be a common element for different cultures.
See? This occurs here, and here
and here and here, in China and over here.
All these things are interconnected.
They all represent the same thing to all these people.
I wrote all these 54 volumes.
[Glenn] He didn't buy folders.
He actually plastered all his pages together
and let it sit up, and then he put this binding over,
and then drew pictures showing what was inside.
And he did some 40,000 drawings.
And I know more than all the historians put together
and the archaeologists.
Szukalski decided that Easter Island was, in fact, the cradle of humanity.
This island,
completely separate from all human civilization,
populated by monumental sculpture.
[man] I think he retreated to a place that is so remote...
that the world couldn't destroy his ideas.
[Lena] He always brought up Easter Island, how important it was,
and that it was the seed of all civilization of the the world,
but he never got to go there.
Motherland personifies Easter Island.
[chuckles softly, stammers] Unbelievable!
[Lena] There's a whole book on tattoos. And he called them scum lines,
because he thought people had saved themselves
from the Great Deluge by swimming.
And all tribes in the world that do tribal tattoos
are still remembering the Great Deluge.
[Glenn] And he came to the conclusion that there was actually
one system of symbolic meaning
that had existed throughout the world before the Great Flood.
Protong, one language on Earth...
and I have discovered it.
And I will send it to Scientific American.
I hope they will print it.
[clicks tongue, stammers]
His Zermatism thing was just flipped.
And, I mean, he'd slipped off the edge.
And would do like this, and would cover the nose.
[Lena] Okay.
I-- I'll try to be short about it. It's-- it's really involved.
Yetinsini, sons of the yeti.
[Szukalski] Conspiracy of misfits.
Stas believed that, in ancient times,
apes or apelike creatures...
[Robert] Bigfoot and things like that, you know...
[Lena] ...had raped beautiful human women.
So, out of this, came this subrace of ugly, ugly people.
He believed that these people became the criminals.
[Szukalski] They are born to kill, to destroy, to exterminate.
[Lena] So they became mass murderers, they became Communists,
They became Nazis...
So... History!
[Szukalski] This may not be true, but these are my silly notions.
And my silly notions usually have very good scientific basis.
[Glenn] At first, it was funny, like we were looking at a circus act.
[stammers] Like, you know, bring out the monkey.
But the more you got into it, you realized, this guy is really serious.
He's got serious things to say.
What he wants to explain, it seems to me,
is what happened to Europe in the 20th century.
[Glenn] He saw the world in ashes in World War II,
he saw the Communist takeover of Poland,
and he just wanted to bring people together.
That's what I-- I think that's what he was doing with Zermatism.
He was showing we all have a commonality.
It's clear that the way he's talking about Jews after the war is different.
The Jews are, instead, one source of ancient traditions...
among other sources of ancient traditions.
[Szukalski] Jews have suffered much.
Each misfortune taught them lesson.
Therefore, they acquired certain wisdom.
[Snyder] In history, if people change for the better,
it's building on something that's in their past.
The continuity is that he's throwing away everything we actually know about history,
and trying to find his own deeper truth,
but he's doing it on the scale of the whole world,
and not just pulling in the Slavs.
In any event, it's clear that he does change after the war.
And that's worth noting, because not everybody does.
[crowd chanting in Polish]
[man chanting in Polish over megaphone]
[Rypson] Eventually, Szukalski's work became prey...
to certain strange pagan associations in Poland
that also profess a form of authoritarian
-right-wing state. -[mouse clicking]
The Polish far-right today looks back at the 1930s as a positive period.
As a period full of useful examples,
and in that experiment, Szukalski is a piece.
[Glenn] Then, he's kind of frozen in time over there.
And if he saw this footage of these Poles out there...
he would... he-- he would...
He would hate it.
Because Stas was totally against nationalistic ideology by this point.
He was-- He was done with it. He-- He saw what it did.
[crowd chanting in Polish]
[Snyder] He's coming back now as a myth of the 1930s.
Some purified Poland is going to be stronger.
I don't even think they know who Szukalski is.
There might be one or two guys that blog about it,
but they don't know the whole story.
[Snyder] If you just go back to the 1930s,
if you look at Szukalski, or if you look at other Polish nationalists,
you're going to find, basically, a suicide note.
You're going to find an invitation to the abyss.
[in Polish] We will show them that Europe is ours!
-[fireworks popping] -[crowd clamoring]
[people chanting in Polish]
[in English] Joan had emphysema. She was a lifelong smoker.
So finally, she had to go to the hospital.
Stas would visit her every day,
and he brought us home this paper, one time.
It was on the back of an envelope of her writing,
saying, "Stas, they're not taking care of me."
So he claims that, on July 4th, during the day,
the staff was just partying it up.
And they just left her alone there, and she died.
And he thought it was the most tragic thing.
So, he called me up. He was hysterical.
We went over there.
I remember just driving around with Stas in the back, crying,
and we saw these fireworks going off.
Just surreal, just sad.
Actually, he describes it beautifully
in the Portrait of Lotus, where he describes how sad he was.
"While putting this volume together,
my most beloved Joan Lee Donovan Szukalski died.
Once, in an outpouring of despair,
I caught my reflection in a mirror,
and was struck by what had become of my face.
In my youth, I was quite handsome,
but my perpetual grief has finally, irreversibly, done its hateful duty
in altering me into a face in the crowd."
[Glenn] My favorite Szukalski drawing
is a piece that he drew in 1954, and it's called A Submerged Town.
He told me the story that this is a man, thirsty,
he's in the desert, and he dips his head down
into this pond, and he sees a submerged town.
And I go, "Stas, that's you."
And he-- And he kind of went...
He-- He really didn't think so. I thought, "Of course, that's you."
[Lena] So after the death of Joan, we became more important to him,
because he would not take care of himself.
[Glenn] We'd open up a drawer, and there's just roaches in there.
[Lena] We would send Meals on Wheels to him, once in a while,
we would send the cleaning lady over to his house.
We would take him out to eat at least once a week...
Basically, we were taking care of him.
One day, Glenn and I came to his house,
and we saw this armature of coat hangers, styrofoam cups, wooden clothespins.
There was this huge blob on there, of dried Hydrocal.
Glenn had bought him Hydrocal, which is really hard plaster of Paris.
Then, a few months later, this came out.
[orchestra music playing]
It's the culmination of all his rage
and his madness about the Second World War.
And it's the story of Katyn,
where thousands and thousands of Poles
got murdered in the forest of Katyn by the Soviets.
Officers, doctors, lawyers,
all very highly-educated people.
Their arms were bound behind them.
They got a hammer to their head,
and then they were shot in the back of the neck.
That's the most horrible thing for them, of course,
but also for the Polish civilization.
To lose all their best people.
Szukalski was really, really proud of this one.
I think it's the culmination of his life's work.
[Robert] I had an art show.
My first one-man art show.
He had me get the attention of everybody there,
and he lectured there, at my art show, about him.
[Glenn] You can just tell this guy was pent up to tell a story.
I went over one evening and I told him, "Stas, you know, I have this camera.
What if we start filming you? We can do the Zermatism tapes."
-[static crackles] -[Szukalski] Okay.
[Glenn] Wait, let me put the finishing touches...
There...
You-- you have to pretend as if you meet me in the desert,
and I've never heard of Protong before.
Uh-huh, good.
This is November the 7th.
June 26th, September, January, May 9th, December the 4th,
August 22nd 1958.
-[Glenn] '85. -[laughing] '85? '85!
[Glenn] He was all for it. No problem with camera on him or anything.
Here she is, a scientific miracle.
[Glenn] I'd shoot him a little bit, and I'd plug it right into his TV,
and he'd look at himself, and he'd go, "This-- This is interesting."
Sometimes once a week, sometimes twice a week.
That went on for, I'd say, at least five years.
[loud whirring]
This has all directions and pulls this way, that way.
[Glenn] This side or this side?
I knew I wasn't making 'em for me.
I knew somewhere, somebody would find these tapes,
and they'd see what was on there, and make something out of it.
I-- I knew that.
[Szukalski] I cannot read this either, so...
-[Glenn] Blue Mesa. -[Szukalski] Oh, Blue Mesa!
[Glenn] I-- I saw the frailties.
I saw things that totally made him human.
I think it really increased his life
by years, I think, because he looked forward to that.
We're just sitting around, talking in his living room,
and he looks at me and says, "The picture."
I say, "What picture? What? Picture? Want to go to the movies?
What pic--" He says, "I give you the picture."
[Szukalski] I wish I could have the camera and introduce
my friend, who makes these pictures, Glenn Bray.
They are so good pictures that it's worthwhile braying about.
Only a month later, maybe, I got a call.
He's in the hospital. This time, it's bad.
They said, "Well, you know, he's paralyzed."
He-- He's laying in bed, and he sees us, and he recognizes us,
but half-- He's half-paralyzed.
One hand can move, and he can blink his eyes,
but he can't talk.
When he found out that he-- that he couldn't move anymore
after his stroke,
he knew he would never be able to work anymore,
and work was his life.
So he just stopped eating.
He refused to eat.
Not good, and, uh, his eyes were closed.
[inhales sharply]
[clicks tongue, sighs]
Then he just reached--
He reached and grabbed me.
And he grabbed me so hard!
I had to just, you know, take his hand off me.
[sniffles]
[Lena] He died when he was 93.
I didn't like to see him go, but Glenn was very distraught.
He lost a very, very close friend, and, I thought...
it's almost, to Glenn, as if he lost his father.
[Glenn] So I had his keys to his apartment,
and I go over there, open up the door,
and I see right where he'd fallen.
And he'd fa--
When he had a stroke, he fell against a glass frame,
and it shattered, and he cut himself.
And there was blood all over this little section,
and I looked down, and there's this postcard of Copernicus.
[crying softly]
So this is the image that...
This is the image that brought us together and took us apart.
[Robert] Stas just carried on about
the center of the universe was Easter Island.
So, we were off to go there.
[Glenn laughs]
[Robert] Me and Suzanne, Rick Griffin and his girlfriend,
um, and Glenn and Lena.
-[crickets chirping] -[man] Okay.
It's a beautiful day on Easter Island.
I'm here with some friends. There's six of us here...
to pay homage to Joan Donovan Szukalski and Stanislaw Szukalski.
[chuckles]
[Robert] They had a big thing of ashes.
It looked like a kilo full of cocaine.
-[Suzanne] It's a tooth. -[Glenn] Throw it.
Stas and Joan, may you rest in peace. We love you.
-Adios! -[Suzanne chuckles]
Goodbye.
[birds chirping]
Is this bill collectors? [chuckles]
Come in, I have something very important to tell you.
Uh... In fact, about history.
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