Pokolenie

Hard not to view this film with the benefit of hindsight when - for example - the final image, of faces almost tangibly seeing the light of a new tomorrow, is apparently so straightforwardly propagandistic; scenes such as that in which the older workman talks reverently about the promise of Karl Marx now seem at best quaint. That's probably not an entirely fair prism through which to consider the film, but the theme of anti-Nazi resistance obviously becomes less stirring when one considers the limitations of what's being put forward as the alternative. Furthermore, although the movie's gritty, shadowy pace generally makes for entertaining viewing, there's a fairly consistent series of images which seem to push too hard - the heart-shaped photo slot at the fair through which we watch as she steps away from him; the Hitchcock-like fall through the well of the spiral staircase. The movie's pace and concentrated immersion in its time and place makes it engrossing, and the earnestness and deprivation are still touching, but it's surely no longer the viewing experience it once was.

The movie that made Andrzej Wajda famous depicts a group of people in Poland's resistance during WWII. In one scene, the movie's protagonist Stach (Tadeusz Łomnicki) learns about Marxism from another man. It's clear that this speech is directed not only at the Nazi occupation, but also at the Soviet occupation. A scene towards the end of "Pokolenie" ("A Generation" in English) reminded me of Agnieszka Holland's "In Darkness", which was recently a nominee for Best Foreign Language Film at the Academy Awards.

As for what I thought of Andrzej Wajda's feature debut. I earlier saw Wajda's "Popiół i diament" ("Ashes and Diamonds" in English). From what I understand about the themes that Wajda depicted in that one, it sounded like what we might call the perfect Polish movie. "A Generation" is also really good, although I did find "Ashes and Diamonds" to be a little better. In an interview, Wajda noted that the title refers to his generation: the leaders of Poland's pre-war film industry had fled the country, and so his generation was essentially starting it from scratch.

All in all, a very good movie. Watch for a young Roman Polanski as one of Stach's compatriots.

I really enjoyed this movie. It tells the story of three young men who join the Polish Resistance to fight the Germans in the Second World War. The interesting aspect of the movie is the exploration of the motivations of each of the men in deciding to fight the Germans. These men do not appear to all be motivated by patriotism but rather a variety of different motivations. The main character seems to be motivated by his attraction to the female leader of the Communist resistance, while the character played by Roman Polanski seems to be involved because he is looking for excitement. Finally, the Jasio character does not seem to have any idea why he is involved at all.

This is a very gritty and realistic movie, which was apparently made to celebrate the anniversary of the Communist Party in Poland. It is interesting how the director, Andrzej Wajda, didn't quite make the movie which the Party had hoped he would make.

On the DVD edition I watched there was an extended interview with Andrzej Wajda which is also very worthwhile. He explains how he did not really know what he was doing when he made A Generation and that the final product was not really what he had been asked to make. After some delay the Party did agree to release the movie.

The Polish film Pokolenie (1955) was shown in the U.S. with the title "A Generation." It was directed by Andrzej Wajda. (A Generation was Wajda's first directorial effort, and the first of his three World War II films.)

The movie stars Urszula Modrzynska as Dorota--a resistance leader who recruits students to join the resistance during the German occupation of Poland. Stach Mazur (Tadeusz Lomnicki) is a young man who answers the call to resist the occupying army.

Even at this stage of his career, Wadja had talent, and many of the scenes in the movie are memorable. However, some of the plot elements were clearly added to please the censors, because Poland was under Soviet rule by 1955. For example, the movie puts forth Communism as the only form of Polish resistance. Of course, Communists were in the resistance, but so were non-Communists. Ringing speeches about how Poland will be happy and free under Communism are painful to watch, given what we know now. (And, of course, given what Wadja knew in 1955.)

Still, Wadja got this brave and important movie past the censors, and presented us with a film that is definitely worth seeing.

We saw this movie at the marvelous Dryden Theatre at George Eastman House in Rochester. It was shown as part of a Wadja retrospective. It's not a great film, but it's a very good film. It's worth seeing on it's own merits, and definitely worth seeing if you have watched--or plan to watch--Ashes & Diamonds and Kanal. (The other two movies in the World War II trilogy.)

At the height of the Nazi occupation of Poland in 1942, this tells us a story of war with a slightly different slant. It takes up the cudgels of the youth whose innocence was well and truly stripped away by their oppressors and illustrates just how tough it was to grow up in any sort of a natural fashion when guns were everywhere and freedom-fighting the order of the day. That is exemplified here by "Stach" (Tadeusz Lomnicki). He grew up in the Warsaw equivalent of a shanty town, with his mother, and learned to live on a combination of wits and strength. He falls in with some communist resistance fighters at work and that's where he meets "Dorota" (Urszula Modrzynska) whom he begins a relationship with whilst perils mount outside. The killing of an officer by his close friend "Jacek" (Ryszard Kostas) makes matters much more intense and with their enemy now firmly focussed on the group, it becomes even more dangerous and lonely for an increasingly angry and frustrated 'Stach". Andrzej Wajda manages to use the tightly knit cast here to create a drama that's entirely plausible of a society struggling to retain any semblance of it's freedoms and principles in the face of an overwhelming and hostile government. He uses the character of "Stach" cleverly to contrast his vulnerability and, at times even childishness, with his courage and his desires. This also shows us a bit of the enemy of any enemy is my friend philopsohy as people with little in common find themselves (temporarily) allied to combat a common foe safe in the knowledge that each are the other's next foe down the line in due course. Like most of the best films to depict events of WWII, this uses the ordinariness of the people to fight it's corner well. Decent people who were not trained killers, indeed here they are barely out of school, yet they adapt to the wreckage of their city; reduced to huddling in corners or ruins or sewers that are darkly lit and photographed as if these very sets were terrified. This is a tough watch and it tests humanity in many of it's guises as it depicts a sort of hope from hopelessness - but without any danger of rose covered cottages, or cherry pie endings.