Hemar Marian, born Jan Marian Hescheles, pen names Harryman, Jan Marjański, Miętuś, *6 April 1901 Lemberg [now Lviv] †11 February 1972 London, Polish poet, satirist, composer, journalist. He made his literary debut in 1919 in Lviv. From 1925, he collaborated with the following cabarets and theatres in Warsaw: “Qui-Pro-Quo,” “Morskie Oko,” “Banda” (literary director since the theatre’s founding in 1931), “Cyrulik Warszawski,” “Małe Qui-Pro-Quo,” “Tip-Top” and “Ali-Baba.” In 1939, Hemar travelled through Romania to the Middle East, where he wrote scripts and directed plays in soldiers’ theatres. In 1942, he moved permanently to Great Britain, where he collaborated with the Polish émigré press and radio station. In London, he first directed the so-called Hemar’s Five, and later the Hemar Theater at the Polish Hearth Club. For many years, he collaborated with Radio Free Europe, preparing weekly 15-minute programs in which, in addition to columns on current topics in a poetic form, he presented his old and new songs.
Hemar made his debut as a playwright in 1929 with the autobiographical comedy Two Mr. B’s (original title Dwaj panowie B.), in 1933 he wrote the play The company (original title Firma), and in 1936, together with J. Tuwim, he wrote the vaudeville Kariera Alfa Omegi, based on the career of J. Kiepura. Hemar was a master of rewrites and adaptations: Piękna Helena [adaptation of La belle Hélène], Artyści (which gave rise to the popular songs Wspomnij mnie! and Pensylwania, 1929), Moja siostra i ja, Trójka hultajska, Jaś u bram raju, Jim i Jill, and others. In exile, he wrote Dług honorowy, a new version of the play Poor Man’s Miracle [Polish title Cud biednych ludzi], which was not performed in Poland (staged in Dublin and Brussels, broadcast five times by the BBC). He was also the author of several vaudevilles (including Piękna Lucynda) and a series of one-act plays entitled To, co najpiękniejsze o postaciach z polskiej historii, including one about F. Chopin (staged on Polish television in 1988). The political nativity plays [szopka polityczna in Polish] he wrote in the 1930s together with J. Lechoń, A. Słonimski, and Tuwim were very popular. In Poland, Hemar published only a collection of satires entitled Trojan Horse, (published under the title Koń trojański, 1936); in London, by contrast, numerous editions of his lyrical and satirical poetry were issued. Hemar’s song lyrics, reflecting his finesse and brilliant wit, enjoyed the greatest popularity. Particularly noteworthy is the series of female portraits written for Mira Zimińska, led by She’s So Little [Polish title Taka mała…], or Exposing The Song [Polish title Zdemaskowanie piosenki]. Hemar often wrote original Polish lyrics (not translations) for foreign hits that were popular at the time. The most famous songs with lyrics by Hemar are: Deszcz jesienny, Czy Anna jest panna, Czy pani Marta jest grzechu warta, Sam mi mówiłeś, Kiedy znów zakwitną białe bzy, Mały gigolo, Kto inny nie umiałby, Chciałabym a boję się, Mnie się żadna nie podoba tak jak ty (featuring original music), No to nóżki na stół, Czy ty wiesz, moja mała, Nie będziesz ty, to będzie inna (featuring original music), Co się z tym stało?, Człowiek, którego kocham, Don’t Tell A Soul [Polish title Niech to zostanie między nami], It’s Worth Getting Drunk [Polish title Upić się warto], Santa Madonna, poratuj, Drzewo migdałowe, The Famous Moustache [Polish title Ten wąsik], translation of songs for the film Snow White [Polish title Królewna Śnieżka]. They were sung by H. Ordonówna, Z. Terné, S. Górska, M. Modzelewska, Zula Pogorzelska, as well as A. Bogucki, L. Fuks, T. Faliszewski and the Polish Choir ‘Dana.’. During the war, Hemar wrote many songs for soldiers, including Pamiętaj o tym, wnuku and Karpacka brygada. Hemar’s rich and diverse oeuvre was recalled on the 15th anniversary of his death by W. Młynarski in the revue Hemar. Songs and poems (performed in Warsaw in 1987).
