La terra della grande promessa

In a grandios and opulent fashion, Wajda epicly portrays the end of the romantic era, the loss of traditional values, and the rise of uncouth and dynamic industrial capitalism - the modern nation state leading to decadence and moral decline.

This definitely may be Andrzej Wajda's most introspective and interesting film. The plot grabs you with its humour and depth while Wajda makes magic with the camera. The Kurowo scene with the poppy flowers is classic...the music calls on nostalgia. Of course, what makes "Ziemia Obiecana" so amazing are the performances. Olbrychski as the scrupleless, handsome Pole...Pszoniak as the hillarious, clever Jew...and (my favourite!) Seweryn as the baby-faced, love-struck German. Naturally, this is a social commentary, but it also reveals certain truths about the human psyche. And let's remember that Wajda was one of the most liberated of all the filmmakers of the Soviet bloc. Calling this propaganda doesn't do anyone justice. Cheers and see this beautiful film!!!

I first learned of Andrzej Wajda when he won an honorary Oscar in 2001 (awarded to him by Jane Fonda, whereupon he made his acceptance speech in his native language). In the years since I've made an effort to watch his movies. I've now seen his Academy Award-nominated "Ziemia obiecana" ("The Promised Land" in English). It's based on a novel about a Pole, a German and a Jew who make plans to build a factory in Lodz in the late 1800s. We might not think of 1800s Poland as the industrialized society that England or Germany were, but Wajda's movie makes it look like bastion of raw capitalism that we saw in Charles Dickens's novels.

The movie reminded me of Martin Ritt's "Norma Rae" in showing the conditions in the factory - as contrasted with the opulent lives of the owners - and the owners' reluctance to allowing the workers to form a union. But even beyond that, Wajda's gift for storytelling and his use of staging to put forth the narrative should rank him alongside Alfred Hitchcock and Stanley Kubrick as one of the greatest directors of all time (anyone who's seen "Ashes and Diamonds" or "Canal" can vouch for that). The clever blend of comedy and drama amount to something that you just have to see.

This is the story of a time and a place. The time is the 1890s and the place is Lodz, Poland (which, Wikipedia indicates was a client state of the Russian Empire then). Lodz at the time was a center of textile production, nicknamed "The Promised Land." Director Wajda wastes no time in hitting you over the head with the basic theme which is the total contrast between the industrial workers and the textile factory owners. The main images we get of the workers is their crowding to get into work at the factories (ala scenes from "Metropolis") and working at their tedious work stations. The main focus of the film is on the factory owners and wannabes and, in particular, on three friends who are wanting to build a factory--one of the friends is German, another is a Polish aristocrat, and the third is a Jew of a nationality that I never determined.

This is a complicated story of epic sweep featuring a large cast. Trying to keep track of all the characters was a challenge for me, particularly without having any historical background to rely on. Some of the financial wheeling and dealing went over my head. As is the case whenever large amounts of money and power are at stake, there was a lot of backstage jockeying going on--companies trying to poach executives from each other, secret coalitions, factories burned to gain competitive advantage or for insurance monies, coded messages decrypted, and so forth. To complicate matters there were national and personal frictions, with Germans insulting Poles, Poles insulting Germans, and Jews being unliked for their success. Additionally there were fissures within families where the pursuit of money caused people to behave in a manner in opposition to longstanding traditions of honor and integrity. At one point a father says to his son, "You have sold your soul for a golden calf." Some transactions were conducted using rubles while others used marks. Some of the characters speak German, others Polish. I was often confused as to where a scene was taking place. Perhaps to elaborate on all of the complexities would require a ten hour movie.

A case is made against unfettered capitalism, a not altogether irrelevant contemporary topic for debate. In order to satisfy the Soviet censors to get this made perhaps Wajda exaggerated by making all of the upper class characters truly disagreeable and arrogant, but given his later involvement with Solidarity in Poland, his sympathies were clearly with the workers. I wish additional time had been given to examining the personal lives of some of the workers; as presented they appeared mostly as grim oppressed cyphers.

Of the seven of Wajda's films I have seen I found this one to be the most accomplished cinematically, almost to the point where the filming trumps the story. The production values, the acting, and the musical score are all excellent. The scenes in the "several years later" segment are stunning in their use of camera angle, editing, artistic composition, and emotional impact. The creation of a Lodz at the turn of the century is a worthy achievement, on a par with the illusion of authenticity that you get when reading a Dickens novel.

I am puzzled as to why this film has drawn such a small audience over the years.

Absolutely brilliant. Many regard this as Wajda's, and maybe even Poland's best ever film. Exciting, ceaselessly and unstoppably powerful, acted with herculean guile, fervour and passion. This is quite possibly the most exciting film I've ever seen. The drama, wit and ferocity of the bulk of the film build so, so effectively to its deafening crescendo, the music, the setting, the actors and the camera-work complementing and intertwining with each other in a way quite possibly unmatched in anything else I've seen. And another great think about it is its shameless, paradoxically both subtle and explicit POLITICAL content. This is Wajda's demonstration that however much he may be portrayed as a hero of Poland's rebellion against its socialist regime, he is at the same time sympathetic to the cause which drove Marxism, and hostile to the vulgarities of the interaction of man and money, the dehumanising, reifying assault with which rampant capitalism engages with the human psyche. If this is propaganda, then it is a heartfelt, stunningly effective damasking of the myth with which we all live today.

By the way, I've only seen the re-released version, shorter than the original. Should i also see the longer 1974 version? I think the freshness and crispness of the cinematography in the more recent version might have added to the film.