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IMDbPro

Kanal

  • 1957
  • Not Rated
  • 1 h 31 min
AVALIAÇÃO DA IMDb
7,9/10
8,5 mil
SUA AVALIAÇÃO
Emil Karewicz in Kanal (1957)
DramaGuerra

Em 1944, durante a revolta de Varsóvia contra os nazistas, o tenente polonês Zadra e seus combatentes da resistência usam o sistema de esgoto de Varsóvia para escapar do cerco alemão.Em 1944, durante a revolta de Varsóvia contra os nazistas, o tenente polonês Zadra e seus combatentes da resistência usam o sistema de esgoto de Varsóvia para escapar do cerco alemão.Em 1944, durante a revolta de Varsóvia contra os nazistas, o tenente polonês Zadra e seus combatentes da resistência usam o sistema de esgoto de Varsóvia para escapar do cerco alemão.

  • Direção
    • Andrzej Wajda
  • Roteirista
    • Jerzy Stefan Stawinski
  • Artistas
    • Teresa Izewska
    • Tadeusz Janczar
    • Wienczyslaw Glinski
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,9/10
    8,5 mil
    SUA AVALIAÇÃO
    • Direção
      • Andrzej Wajda
    • Roteirista
      • Jerzy Stefan Stawinski
    • Artistas
      • Teresa Izewska
      • Tadeusz Janczar
      • Wienczyslaw Glinski
    • 39Avaliações de usuários
    • 31Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
    • Indicado para 1 prêmio BAFTA
      • 1 vitória e 2 indicações no total

    Fotos112

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    Elenco principal31

    Editar
    Teresa Izewska
    Teresa Izewska
    • 'Stokrotka'
    Tadeusz Janczar
    Tadeusz Janczar
    • Ens. Jacek 'Korab'
    Wienczyslaw Glinski
    Wienczyslaw Glinski
    • Lt. 'Zadra'
    Tadeusz Gwiazdowski
    Tadeusz Gwiazdowski
    • Sgt. 'Kula'
    Stanislaw Mikulski
    Stanislaw Mikulski
    • 'Smukly'
    Emil Karewicz
    Emil Karewicz
    • Lt. 'Madry'
    Vladek Sheybal
    Vladek Sheybal
    • Composer Michal
    • (as Wladyslaw Sheybal)
    Teresa Berezowska
    • Halinka
    Zofia Lindorf
    • Old woman looking for her daughter
    Janina Jablonowska
    • Screaming Woman in the Sewer
    Maria Kretz
    • Wounded Woman
    Jan Englert
    Jan Englert
    • Zefir
    Kazimierz Dejunowicz
    Kazimierz Dejunowicz
    • Capt. 'Zabawa'
    Zdzislaw Lesniak
    • 'Maly'
    Maciej Maciejewski
    Maciej Maciejewski
    • Lt. 'Gustaw'
    Adam Pawlikowski
    Adam Pawlikowski
    • SS Man
    Wlodzimierz Bednarski
    Wlodzimierz Bednarski
    • Insurgent
    • (não creditado)
    Zenon Dadajewski
    • Insurgent
    • (não creditado)
    • Direção
      • Andrzej Wajda
    • Roteirista
      • Jerzy Stefan Stawinski
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários39

    7,98.5K
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    Avaliações em destaque

    10begger

    Resistance is Futile

    In many respects this movie is sheer brilliance. For starters "Kanal" describes the entire Polish Revolt in a single instance at the eve of its termination. But this movie is much more than a parable of Revolution and struggle. "Kanal" has great characters, great settings, great scenes, and, above all, an important message to be told.

    What would it be like to fight an impossible battle against a larger force and be in the real world? What would it be like to face death at every turn and still travel on knowing defeat awaited you at the next bend? "Kanal" is the answer to these questions.
    futures-1

    It is relentless

    "Kanal" (Polish, 1957): This is the second of Andrzej Wajda's trilogy about WWII in Poland. I love the photography – the light, the angles, the flowing camera movements. "Kanal" is about a group of resistance fighters and civilians who, out of necessity, band together to fight (what appears to be a losing battle) against the oncoming Nazis. First set in an incredibly bleak ruin of Warsaw, the story and acting only intensify as they begrudgingly try to escape through the underground sewer system. This one will take it out of you. It is relentless. It is relentless. It is relentless. It is relentless. Relentless. Relentless. Relentless. Relentless. Relentless. Relentless.
    10tutusaad

    Fatalism in Post-war Poland

    I saw this film in a film festival in Dhaka, in early sixties(Now Bangladesh, then East Pakistan). For me as a student, Sattayjit Ray's Apu trilogy was my only exposer to any kind of art film then. Visual realism was a new thing for us in Indian sub continent. Audience were so spellbound that they could smell sewage sitting in the cinema hall. I think like all great directors, Wajda had the cinematographic sense to create that environment where viewers reality could blend with creative fiction. In post war period of late forties and in early fifties like the School of Polish Posters, all creative mediums went through this fatalistic phase. It was grotesque but realistic.
    10Goodbye_Ruby_Tuesday

    Watch this film closely in the last hours of heroes lives...

    Did Andrzej Wajda predict the modern horror film? Or was he merely acting on--and manipulating--our fear of the big, scary monster? There are many shots in KANAL where the camera will simply stay on a passageway seconds after the survivors leave the shot. As a modern audience who has lived through horror films, we expect a Nazi or a monster to slip into the frame in the background, but it never does. KANAL truly is a horror film, but what's unbearable to us and the sturdy group of Resistance fighters isn't the Nazis above the sewers or the metaphorical monster, but it is the solitude and emptiness that drives them to insanity, death or a bitter end.

    KANAL is Andrzej Wajda's dirty, bloody valentine to the heroes of the 1944 Warsaw Resistance as the film follows the last hours of a band of heroes in their ultimately futile attempt to escape the Nazis through the labyrinth of underground sewers. We are first introduced to them as strong, willful humans trying to survive in a world that's falling to ruins (One could also argue that Andrzej Wajda also created the first post-apocalypse film). They laugh, they love, they play music in the last happy moments of their lives. After they enter the sewers, we expect and want them to come out even more strong-willed than ever--how many people can face dead bodies floating in the water of a dirty sewer with the same calm defiance? But as time goes on and the group gets separated, it becomes more and more inevitable that these heroes are not meant for a Hollywood's movie's happy, redemptive ending.

    Andrzej Wajda, like Roman Polanski, was a real survivor of the Nazi invasion of Poland during WWII, and both became filmmakers who brought their experiences to films, as Polanski did with Oscar-winning THE PIANIST. However, Polanski's film, though absolutely profound, doesn't have Wajda's eye for details--the scenes of ruined Warsaw, for example, seem almost CGI'ed and it's obvious that he's trying to go for more, while Wajda will focus solely on the dirty ground, the debris blowing in the wind, or the flames of a burning building in the background. With Wajda, less is much more effective. If there is a situation more dirty, awful, lonely, scary or haunting than these people making their way through the labyrinths, I have yet to see it.
    10info-399

    A Great Film

    A great film, at first viewing people may not understand some of the cultural references. The tall blonde brave sewer-runner is not a model of Aryan Uber Womanhood but that of a strong polish woman.According to the official line of Nazi Propaganda the metaphor for the Aryan woman was of a breeder , home maker not a woman that would take a pro-active role in dragging aman half way across the canals of Warsaw. I saw the movie as less of a metaphor for hell as that of an actual hell,the hell of siege such as stalingrad. Stalingrad was not a metaphor for hell it was hell on earth. As was Warsaw in the last days of organized rebellion.As much as Das Boot style brought across a sliver of the real life incident , Kanal's style brings across the desperation of the struggle in Warsaw. The optomistic saddness can be written off as slavic melancholy, or better described as the hope and sorrow of a nation that has many times been routed from the map of europe only to resurface strong and proud.Everything was taken from them and hope itself is in question as the final reel fades to black.

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    Você sabia?

    Editar
    • Curiosidades
      Director Andrzej Wajda was himself a fighter in the Polish resistance movement against the Nazis in World War II and several scenes in the film were based on his experiences.
    • Erros de gravação
      When Korab is attacking Goliath self-propelled tracked mine, a wire pulling it can be seen.
    • Citações

      Narrator: These are the tragic heroes: watch them closely in the remaining hours of their lives.

    • Conexões
      Featured in Vieras (1984)

    Principais escolhas

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    Perguntas frequentes16

    • How long is Kanal?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 20 de abril de 1957 (Polônia)
    • País de origem
      • Polônia
    • Central de atendimento oficial
      • Studio Filmowe Kadr (Poland)
    • Idiomas
      • Polonês
      • Alemão
    • Também conhecido como
      • Canal
    • Locações de filme
      • Dluga, Sródmiescie, Varsóvia, Voivodia da Mazóvia, Polônia(manhole)
    • Empresa de produção
      • Zespol Filmowy "Kadr"
    • Consulte mais créditos da empresa na IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      • 1 h 31 min(91 min)
    • Cor
      • Black and White
    • Mixagem de som
      • Mono
    • Proporção
      • 1.37 : 1

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