Der Kanal

A great film, at first viewing people may not understand some of the cultural references. The tall blonde brave sewer-runner is not a model of Aryan Uber Womanhood but that of a strong polish woman.According to the official line of Nazi Propaganda the metaphor for the Aryan woman was of a breeder , home maker not a woman that would take a pro-active role in dragging aman half way across the canals of Warsaw. I saw the movie as less of a metaphor for hell as that of an actual hell,the hell of siege such as stalingrad. Stalingrad was not a metaphor for hell it was hell on earth. As was Warsaw in the last days of organized rebellion.As much as Das Boot style brought across a sliver of the real life incident , Kanal's style brings across the desperation of the struggle in Warsaw. The optomistic saddness can be written off as slavic melancholy, or better described as the hope and sorrow of a nation that has many times been routed from the map of europe only to resurface strong and proud.Everything was taken from them and hope itself is in question as the final reel fades to black.

I think everyone who saw this film knows that it's a masterpiece, but maybe not everyone knows how authentic the film is. The writer of the screenplay - Jerzy Stefan Stawinski - is in fact the Lieutenant Zadra responsible for his platoon. Stawinski wrote down his own war experiences here with impressing honesty.

Another thing that may be interesting in this film is the main female character - Daisy. She isn't supposed to be a superwoman as some suggested. In fact there were several thousands of women fighting in this uprising. All of them that survived it were given the status of soldiers by Germans. It was the first time in the world's history when women received such a status. During the uprising many of them were carrying mail via sewers, so Daisy is rather a typical character in this role. It would be more surprising if the guide was a man.

This is certainly NOT a feel-good film, as it deals with the horrors of the Nazis and their crushing of the Warsaw uprising of 1944. After all, there is no way or reason to make this a nice or fun movie to view. It just isn't possible. BUT, we are treated to an intensely realistic and viscerally disturbing film showing the war in all its awfulness. The first portion of the film is set in crumbling buildings and the nobility of the cause is apparent. However, the vast majority of the film is set in the sewers (hence the title "Kanal") and the characters, over time, lose some of their nobility and just ache to survive. The film is intensely claustrophobic and the filth they move about in literally looks like raw sewage--so as the characters fight for life and, in most cases, give up hope, you find yourself being pulled into their world and their terror. A great, though intensely awful film to watch. So, it comes as no surprise that I would not recommend this film to children or people afflicted with claustrophobia.

PS--if the musician seems familiar, it's because Wladyslaw Sheybal (also known as "Vladek Sheybal") is one of the Bond Villains in the movie FROM Russia WITH LOVE.

This is an excellent movie. It tells the story of the last stages of the Warsaw Uprising against the Nazis. A small unit of Polish Resistance fighters are ordered to fall back to a central position by going through the sewers.

Most of the actions happens in the eerie confines of the sewers, which creates a very gripping atmosphere. However, the most interesting aspect of the movie is the character development. All of the characters are so different and changeable. No stereotypical characters in this movie!

Andrzej Wajda is a truly great director. He is able to make unique movies based on the character development, rather than relying on gimmicks to gain the audience's attention. In this movie you never know what is ultimately going to happen to the resistance fighters until the final scenes.

Watching Andrzei Wajda's war movie 'Kanal' one is stuck just by how short the interval was between the making of this film and the horrors it depicts. And while there were plenty of British and American war films made in the 1950s, it was perhaps easier to turn "our" story into the black-and-white banality of heroic fable, besides which, "we" could also make movies without communist censors looking over our shoulders. Wajda here chooses to fashion a tale centred on the collapse of the Polish resistance to the Nazis: the last survivors take to the sewers, the Germans pump gas down, and you know as soon as the film starts that there will be no happy endings, even for the survivors. It's a tale whose laconic nihilism would be remarkable in any era: I was reminded of the (much later) BBC nuclear-themed drama 'Threads', another tale of underground life facing extinction, while the dialogue, stoical in the face of impossible fate, offers more direct echos, for it made me think of the films of another Polish master, Krystoff Kieslowski. The most remarkable things in this film are the poetically bleak sequence of scenes that end it; it's biggest failing is the score, that (as with many films of this era) feels the need to describe the plot, and not merely to complement it. Occasionally other aspects of the movie also give away its age, but what's much more notable is the modernity (and hopelessness) of its approach to its material. A fine achievement, dating from an era when the events it portrayed were the present, not the past.