Coronel Wolodyjowski

"Pan Wolodyjowski" does not rank with some of the great film epics, such as "Lawerence of Arabia," but there is definitely much to impress the lover of historical films. This is especially true if, like me, you have grown tired of all the usual times and places that make it repeatedly into film and wish to discover a new realm of barbaric splendor and excitement. In the late-1600s, while colonists in America were struggling to defend their western frontier, there was another borderland - a "Wild East" if you will - between Europe and Asia. The frontier between the Ottoman Empire and Europe lay through Poland, Ukraine, and southeastern Europe, and each side was trying to invade the other's. This was a world of Tatars and Turks, Cossacks and Polish "winged hussars," scimitars and lances, fur caps and feathers everywhere.

This film adaptation of the last of Henryk Sienkiewicz' historical trilogy is a bit dated in its looks - women with big hair and bangs, the colors a bit too bright - but with a cast of thousands the story the film tells is compelling and filled with enough pitched battles, chases, explosions, hair's-breadth escapes, love stories, strong male and female characters, rapes, murders, impalings and suicides to keep all but the most special-effects dazed teenager entertained. But more than that, this film is a gateway into forgotten realms. Can anyone watch this or the other two episodes in the trilogy ("The Deluge," and "With Fire and Sword") and ever listen to another "dumb Polack" joke again? I don't think so.

This is the last film in a trilogy made up of With Fire and Sword, The Deluge and Colonel Wolodyjovski, based on the novels of the same name by Henryk Sienkiewicz published between 1884 and 1887, which are historically located in the second half 17th century, as part of the war between Poles and Turks.

Michal Wolodyjowski is thus a fictional national hero, partially inspired by a historical character, a Polish nobleman from the Korczak clan, called Jerzy Wolodyjowski.

This film adaptation of the third volume of the trilogy is a super production, reminiscent of the great historical productions of the 50s, produced by Hollywood, but also by the Soviets and even the Italians, these with smaller budget versions, intended only to take advantage of the fashion of historical films.

As in all these productions, historical accuracy is scarce, compensated by the grandeur of the sets, the multitude of extras, Technicolor (or its Soviet and Italian versions) and CinemaScope, that is, the panoramic screen.

The plot is romanticized and focused on the romantic plot rather than the political-military one, the color and wardrobe are excessive, taking away the credibility of the reenactment (as if someone were going to war in a ball gown at court). There is, however, an attempt at rigor in the weaponry used, in some real scenarios and in battle techniques, although sometimes giving in to the temptation to use everything at the same time, without logic, to increase the spectacularity of the battle scenes.

I cannot resist citing an absurd example, as it is clearly ideological. The nobleman who headed the city about to be besieged, in the face of the imminent Turkish invasion, insists on collective leadership, from the council of nobles, instead of appointing a general to head the defense. A collectivist anachronism introduced in a plot that takes place in the 17th century.

The pomp with which the Turks advance against the castle walls, to the beat of large drums, reminiscent of those of Roman galleys, carrying bunches of straw, which the besieged will purposely set on fire, causing the besiegers to flee, is also ridiculous.

Today it is essentially a curiosity for anyone interested in the history of epic cinema, especially because it is an example from communist Poland, and therefore little known in the West.

Out of three films made by Mr. Hoffman (Potop, Ogniem i Mieczem, Pan Wolodyjowski) upon the trilogy of Henryk Sienkiewicz, this film is probably the weakest. Strange to notice that this book is the last in the trilogy but was filmed first, so Hoffman preserved this backward method to the end. I only wish he could make new versions of this and Potop films as well! Anyway, Pan Wolodyjowski is a fine portrayal of the 17th century Poland, its wars against Tatars and other nomadic armies. What makes this film so brilliant is the superb battle scene shooting, graphical yet not so unbearable violence and clear patriotic (some may call it nationalistic) sentiment towards Poland. As I wrote, this is not the best film in the series, but try to watch them all three and see how well Hoffman did his job.

Quite frankly, I was thoroughly captivated. This was made in 1969 and had there were those moments that seemed a bit dated, but nothing sufficient enough to dull the goings on in the film. I'll confess, I always find the love stories in the Trilogy to be a bit contrived (people do seem to fall in and out of love a tad too quickly), but here it was lively and fairly fun. There was considerable effort to make Wolodyjowski and Basia compatible in love and temperament. It was also fascinating to see a young Daniel Olbrychski in his heyday. The characters, major and minor, were all well developed, and the story invigorating. I wanted to fight some Ottoman Turks myself by the end.

This 1960s movie is not horrible, but having just re-read the Trilogy, have to say it is not very good, Very little of the quality of the book was conveyed. The characters (which tend to be stereotypical anyway) were even more so in the movie. Azia in particular was all too obviously villainous -- lots of eye-flashing and lip-curling, nothing of the complexity of the character. Also, there was NO chemistry between Michal and Basia; and really nothing to involve you with Basia at all. Hard to believe Basia is considered one of the most endearing of literary heroines in Poland if you base your impression on this film. Here she looks like just any 60s movie cutie, with her anachronistic hairdo. Those bangs!

Nothing of the epic quality of Basia's ride back to the fort is conveyed. Even minor details matter in period films. Could they not at least have dressed her in period? In the book, whenever she dresses in male attire, Sienkiewicz is careful to describe her costume -- big baggy trousers, etc. In the film, she rides in stylish 20th century skin-tight trousers making her escape through the snow even more implausible. I would really like to see this remade.