Identify the reconstruction you are discussing
FINA’s restorer describes two incomplete source copies: a black-and-white Russian version and a longer tinted Polish version. The reconstruction combined material from both. Keep the film title, the presentation or restoration credit and the source page with any viewing note, rather than assuming every copy online represents the same edition.
If a passage changes appearance, record its position and whether the shift concerns tint, brightness, damage or framing. The source materials differed in more than colour. Those observations are more informative than describing the entire film as low quality, especially when a particular boundary repeats in the same place.
Compare the change with the documented method
The restorer says black-and-white inserts were digitally tinted to match when part of the same scene survived in colour. Scenes preserved only in monochrome were left black-and-white rather than assigned an uncertain colour. This is a stated restoration method, not a promise that every visual difference in any circulating file is intentional.
Use that account as context for the selected presentation. A repeatable monochrome scene may be consistent with documented source limits, while a whole screen changing unpredictably or losing colour outside the film calls for a different investigation. Do not alter display settings solely to force an archival reconstruction into a uniform tint it was not designed to have.
Keep text reconstruction separate from player subtitles
FINA also describes translating some intertitles that survived only in the Russian copy, while recognising that the old translation was not always faithful. Such reconstructed title cards are part of the film image. A modern subtitle-menu choice is a different layer and cannot be assumed to restore an original Polish card that no longer survives.
For study or discussion, note which visual or textual observation comes from the presentation and which conclusion comes from the restoration account. Preserve uncertainty about missing material rather than declaring the reconstruction identical to the first release. This gives another viewer a meaningful way to understand mixed-source images without treating preservation decisions as unexplained playback defects.