No, he's in Episode Three. When Janusz and Eva are driving through a tunnel, the mysterious man is driving the rig that nearly hits them.
He is also nowhere to be found in Episode Ten (even though one of City Death's members bears an uncanny resemblance to him.)
Anyway, my three favorite episodes are One, Four, and Five. I'll explain (spoilers):
One: The film's first forty minutes are upbeat and occasionally humorous, profiling the lives of Krzysztof, a professor, and his intelligent young son, Pawel. Krzysztof believes that the world is ruled by mechanics and machines, such as computers, and that all information can be discovered through technology. Pawel is not so sure. Almost naturally, a tragedy ensues- a miscalculation resulting in the young boy's death. Like many of the other episodes, director Kieslowski makes us believe the story is leading one way, when he suddenly shocks us with where the story is going. One of the most powerful short films I've ever seen, with two images that constantly haunt me: the image of the wax pouring on to the painting of the archangel, making it appear as if it is crying; and the grainy television image of Pawel, joyous and happy, unaware of the tragedy to come.
Four: Like the first episode, Four deals with parenting. Anka is a young woman enrolled in a theatrical school. When her father goes away on business for a week, she is tempted by an unopened letter addressed to her- but only to be opened after her father's death. She, of course, gives in and discovers a shocking revelation within the letter that leads to emotional and sexual tension between her and her father. The film is laced with suprises, and the end is another shocker- I at first dismissed it as unrealistic, but the more I thought about it, the more everything made sense, in context. Almost remarkably, Kieslowski ends this sad and somber story with a happy finale, giving the viewer hope for these tragic figures.
Five: Often remnescant of Fritz Lang's "M", Five tells its story in two parts. The first half is a shocking and unblinking portrait of a young man named Lazar who randomly and brutally kills a stranger. It shows the killing without remorse or emotion. The second half shows the prosecution of Lazar, and the young lawyer, Piotr, who defends him. It is only after Lazar is executed that Piotr realizes the truth about human nature and how utterly senseless violence truly is. Unlike One and Four, this episode is almost totally void of emotion- only hints of Lazar's tortured past, and a sad glimpse at a society which cannot except anything less than an eye for an eye.
"The Decalogue" as a single series stands among "Casablanca" and "The Godfather" as one of the greatest film achievements of all time. Each episode is wonderfully unique- they don't offer brain-warped religious allegory, but simply show the berevity and despair of the human psyche. Although these stories may be sad, it's the reactions of the characters and their emotions that offer hope in the world- like the final scene of Episode Ten, which gives us promise for our flawed species.
- - - - - - - -
"Lost in Translation" was snubbed!