Cenere e diamanti

This is a movie that becomes mostly great due to its fine directing approach. The movie at times picks an artistic approach but without disconnecting itself ever from its viewers.

It's really the way how this movie looks that made this an interesting and good watch for me. It features some beautiful black & white cinematography and it has some some really strong and unforgettable images in it.

The story in itself is being kept deliberately small and simple. The movie very rarely dwells, which is a good thing but it at the same time also prevents this movie from making a truly lasting impression with a good or powerful story. In my opinion the movie was lacking this, which prevented me from truly regarding this movie as a perfect movie, or a must-see classic, even though it is generally being regarded as perhaps the best and most definitive Polish movie ever made.

Neverhteless, the characters all do work out well, due to the movie its story and overall approach. It was also truly a pleasure to watch Zbigniew Cybulski act, who is known as the Polish James Dean. He was truly great and really solely carried the movie, for most part.

Due to the fact that the movie is being kept simple and small, there is also very little to indicate in this movie that it's actually one being set during WW II. Don't know whether this was done intentionally or not but anyway, I liked that about this movie. It's a war movie without the war and everything that goes along with that and basically all that ever indicates that there is war going on is shown by the presence of a few soldiers.

A solid but above all things beautifully directed movie, by Andrzej Wajda.

8/10

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Surely the most mature of the trilogy; it's certainly the most elliptical and stylistically audacious. At the start, Cybulski is a laidback, coldly cynical assassin who lolls on his back in a field waiting to carry out his latest hit; suffering a crisis of confidence in light of his awakening love for a woman, he flirts with desertion before resigning himself to the demands of his position. His personal journey speaks eloquently to the national trauma, and he's just the most prominent in a complex collection of transition figures, caught on the official last night of the war, now looking forward but not yet able to escape the ravages of war and the attendant moral and psychological confusion, not yet free of potential victimhood (like the mayor's assistant who on learning of his boss' promotion drinks excessively in celebration of his own presumed advancement, but in his disruptive drunkenness kills off what future he had). The ending, intercutting a personal tragedy with the dancers doing the elegant polannaise in the streaming light of dawn, like disembodied Felliniesque figures, perfectly encapsulates the film's mix of toughness and allusiveness.

First, I've read a book by Jerzy Andrzejewski and then I've seen the movie. After that, I never went back to the book. It was not because it was bad, quite the contrary - it was very good. But the movie by Andrzej Wajda is definitely a masterpiece of Polish movie-making. The main plot of the movie revolves around Maciek Chelmicki, a young idealist who fought against the Germans and then turned to fight against the Communists. He is sent to kill Szczuka, one of The Party's middle rank administrators, by the Polish underground.That's the plot. The movie itself is about a lot of important things, common to all people (but I believe the Polish people will find a few of them more emotionally binding):

1. Nothing is black or white, everything is just a shade of gray

2. Is death, no matter how you try to justify it, senseless?

3. Is it better to live, while on your knees or die standing straight? Or maybe it's better to try to live standing straight?

4. That sometimes it's not war that is hell, it's living through war and trying to live a normal life that is a lot harder (thank God I do not know if it is so)

Wajda's movie doesn't give direct answers to any of these questions - each person may watch the movie from a different point of view and get to a totally different conclusion. But even if you're not into psychological movies about war, or noir-movies (and Popiol i Diament is definitely a sort of a noir-movie) it's worth watching for just one scene - the burning vodka glasses at the bar - Cybulski at his best.

And lastly - the motto of the movie (and of the book as well):

"Will ash and chaos be left in the end, that follows a storm into abyss Or may a diamond be found in the ash, a dawn of an everlasting victory"

Cyprian Kamil Norwid

PS: I hope Mr Norwid will not turn in his grave at the quality of my translation but that part of a poem by CK Norwid sums up the movie really well.

This is one of those movies that convince me of the medium's universality. Wajda is using his skills in emulation of Hollywood examples (for example, the tenebrous lighting reminiscent of fashionable noir movies and the deep focus honed by Orson Welles and Gregg Toland), but his story is genuinely about post-war Poland and is intensely personal and honest. In Zbigniew Cybulski, he has an actor who catches the director's personal feelings about the War and what has happened to his homeland, his bravery struggling against the ambiguity and despair brought on by war weariness and soviet betrayal. We see the sociology of the moment, from the hotel clerk's nostalgia for Warsaw, now ruined, to the hardened barmaid, who wants desperately to believe in love. The whole spectrum is sampled, from the ineffectual old leaders to the vicious soviet man who assists the targeted Sczcuka, himself a decent but conflicted character. It's remarkable that Wajda got the film made despite his soviet minders.

"Ashes and Diamonds" is both an essential historical film and a visual masterpiece. Set in the first days of Soviet occupation following World War II, the film examines the moral dilemmas of the protagonist, Maciek--a young rebel hit-man-- in following through with the assassination of a leading communist party member--Sczcuka--who will soon be empowered as a means of forming a puppet communist government in Poland. The film is not limited to the perspective of the protagonist, and alternates between the moral dilemmas of each of the characters in fulfilling predetermined Soviet agendas in the formation of a communist Poland.

The visual composition of the film is as masterful as the complexity of the characters and plot. Despite the notoriously bad film technology in the Soviet states and the constraints of Socialist Realism, the film manages not only to capture the potential richness of black and white, but also manages to avoid the standard pitfalls of over-zealous editing that often destroy other contemporary Soviet films. The frames are longer shots in general, and forced schematization through editing is all but absent. The precise composition of each scene throughout the film provides the visual coherency that would otherwise be imposed by careful editing; as an example, see the scene in which Maciek is underneath the staircase in the lobby of the hotel towards the end of the film, or the final "Polish" dance scene.

I would highly recommend some research into the political transitions of Poland in the years directly following WWI before viewing this film for the first time; this film was made for a particular audience who clearly understood certain cultural and historical references that a modern Western audience will inevitably miss (ie. "Were you in Warsaw?"). The thematic and emotional complexity of the film is also enhanced by an understanding of Polish history. I would highly recommend this film for any class examining Eastern Europe or Soviet Russia (which is the context in which I was introduced to this film in particular), or to anyone who would like to better understand the complexity of Cold War politics from a perspective behind the Iron Curtain.