Paisaje después de la batalla

Krajobraz po bitwie like many films of Wajda is, perhaps, not understandable for the "rest of the world". Story based on the few short stories of Tadeusz Borowski, who during WWII was the prisoner of Oswiecim, Dachau and Dautmergen camps. Borowski in his books describes inhuman life in the Nazi camps from the point of view vorarbeiter Tadek - porte parole of author who also was on the privileged position among the prisoners. Borowski was merciless for the humanity and merciless for himself. He describes the human history as the endless chain of exploitation and humiliation. Ironically, after the returning to Poland he stopped writing artistic prose and became communistic propagandist, producing stream of anti-imperialistic and anti-american press publications. After few years he committed suicide. In the movie Wajda changes point of view. Vorarbeiter Tadek - character created by the Tadeusz Janczar - plays only supporting role. Story is focused on the poet, destroyed, burned out by the war and imprisonement and his one-day love affair with Nina, Jewish girl who escaped from communistic Poland although she actually hates jewish life and mentality. As the background we can observe sad grotesque of so-called "dipis" (displaced persons) life, who after the liberation are settled by the Americans in SS barracks. Marches, patriotic kitsch mixed with hunting for the extra dose of food and/or prostituting German girls.

"Landscape After Battle": This excellent Polish film was shown in its home country in 1970 (but only released in the United States in 1978 by New Yorker Films), one of an impressive resume by the Academy Award-winning director Andrzej Wajda, who was presented with a lifetime achievement award by the Motion Picture Academy of Arts and Sciences in 1999, an honor that was well-deserved, highlighted by among other great films such as "Man of Iron" (1981) and "Katyn" (2007). Several of the previous reviewers said that Wajda's talent can only be appreciated if you are Polish; NOT true! Instead, his work shows how mainstream European films are, by and large, head and shoulders among contemporary American output.

"Landscape After Battle" begins on the snowy day a Nazi concentration camp is liberated by American troops in 1945. Personally, I found the use of Antonio Vivaldi's "Winter" movement from "The Four Seasons" to be a stroke of genius; it never would have occurred to me to utilize it within the score, and it works in the scene! Also, bravo to Mr. Wajda for actually filming winter scenes in winter . . . proved by seeing the actors' breath while filming outdoors! It strikes me that he didn't much go in for fake stuff, which American directors don't seem much bothered about.

The plot is simple: a sarcastic prisoner, Tadeusz (brilliantly portrayed by Daniel Olbrychski, cynical in the style of the late James Dean), whose passions are books and writing poetry, begins a tentative relationship with a mysterious girl (Stanislawa Celinska), first seen at a huge outdoor mass celebrated by visiting church hierarchy. The script is multi-layered with statements about Poland's national pride, its fervent Catholicism (90-plus % of the population professes to be practicing believers), the unwillingness to forgive, and fear of Communism, and the supporting cast is populated by a varied assortment of interesting characters. The protagonist, Tadeusz, prides himself on being an outsider, and there is not a false note in Olbrychski's performance; it is difficult to not take your eyes off him. Supporting in a moving portrayal is actor Zygmunt Malanowicz, who made an impressive debut as the young hitchhiker, catalytic in provoking the strained marriage in Roman Polanski's first feature, "Knife in the Water" (Oscar nominee, Best Foreign Language Film, 1963). Malanowicz plays the young priest with a sense of intense sadness, especially regarding the degrading parading of a German thief (female) in front of her mob of accusers, and in the final scene with Tadeusz at film's end, describing an atrocity he witnessed first-hand in the camp. In my opinion, Malanowicz is among the best of Poland's acting community, and this performance is first-rate.

The exquisite color photography by Zygmunt Samosiuk is masterfully beautiful, some of the best I've ever seen in cinema, particularly the beginning winter frolic by the freed prisoners, and the conversation among the striking colors of the autumn woods between the young couple. Samosiuk makes great use of the countryside's natural beauty . . . even something as commonplace as the wheat fields. Many of the shots are breathtaking. Also, the use of hand-held cameras to derive a sense of spontaneity and intimacy at certain points is very effective.

The film is controversial and upsetting but, considering the facts on which it is based, these attributes work in Wajda's favor. One is supposed to be shaken and there are lasting impressions left. I would highly recommend "Landscape After Battle" as a must-see experience for serious audiences who appreciate important European filmmaking.

All songs are about love. All songs are about this hidden treasure. But this movie won't save us too.

And, of course, have been changed during translation on one Ukrainian channel. On repeat the beginning is not the same that have been during translation.

But the movie is still the same that is been around. Like in 1970. Like now.

A moey zhenoy nakormili tolpu.

And my wife has been fed to the crowd.

I think I would probably not hate this movie if I spoke Polish. I selected the English version at the first menu, but it gave me Polish dialogue with English subtitles, just as the Polish version did. Maybe the dialogue was so disjointed because the person that did the subtitles could not translate it into English very well. To exacerbate the issue, some of the dialogue had no subtitles at all. The acting was pretty bad, especially the female lead, who was melodramatic about everything! One scene that bothered me was when a German woman was caught stealing and as the mob was jostling her around, her shirt opened and the director showed close-ups of her naked breast for the next 15-20 seconds. I couldn't see how her breast added to the drama of the scene or the film. Maybe the director was trying to increase the numbers of teenage boys in the audience. Much of the film takes place in an extermination camp liberated by the Americans. First, the "American" uniforms did not look anything like U.S. Army uniforms. Second, none of the extermination camps in Poland were liberated by the Americans. I would think that a Polish film director who turned 19 in 1945 would know better than an American born in 1966 that all six extermination camps were liberated by the Russians. All in all, it's just not a very good film if you don't speak Polish.

The opening scenes are pure cinematic ballet as the War prisoners celebrate their freedom from the German camps with the arrival of the Americans. The story then bogs down as we follow one of the prisoners, Taeusz, (Olbrychski), a poet who has emotionally cut himself off from the mayhem around him by dwelling into books and food. The Americans decide to keep the Polish prisoners caged until they know what to do with them. Nina enters the camp and edges Taeusz on to open his eyes but he refuses to take any risks. Only later does he become aware but by this stage it is too late. There are important topics brought up here via Taeusz but never in any cinematic brilliance. Instead we get a lot of talk and the occasional visual brilliance but not enough to keep the viewer interested.