L'homme de marbre

I came to this film after having watched Wajda's "Ashes and Diamonds," which I consider to be one of the finest films I have seen. However, "Man of Marble" was just too quirky for me, leaving me a bit perplexed.

The story concerns a young film student, known here only as Agnieszka, who decides to produce a documentary on one Mateusz Birkut as her graduation project. Birkut was an idealistic bricklayer who rose to the status of post-WWII hero by way of displaying superior efficiency and strength. His innovation of how to use a small team to accomplish improved production came to be so well recognized that he would tour the country setting up such teams. The film time-slices from the 1970s, when Agnieszka is making her film, to previous times, all the way back to mock documentary footage of Birkut in the 1950s. The presentation is anything but flattering to the Communist Party and it is astounding the Wajda was able to get this made in a time when the Communists were still in power in Poland. The story must be autobiographical to some extent, since we see Agnieszka encountering political opposition to her digging too deeply into the past trying to reconstruct Birkut's life and figure out why he essentially dropped from the scene after having been so highly visible; there is also a famous film director in the movie whom we get to know well.

There are many scenes that had the quality of a dream, but yet seemed like they were supposed to be taken for real. For example, one scene has Burkit's friend Witek going into a small office of a party boss and, when Burkit enters the office some time later there is no sign of Witek. If this were to be taken as some sort of Kafkaesque event, then Burkit would have made no remark on the mysterious disappearance, but he express the surprise that any normal person would have. I did not know what to make of such scenes. Agnieszka's facial expressions and body movements are often quite odd, bordering on the bizarre, and they accentuated the feeling of unreality I had that became increasingly more pronounced as the movie progressed.

The collage of Agnieszka's interviews, mock documentary footage, scenes from Burkit's life, scenes from Agnieszka's own life, and an inappropriate musical score did not coalesce for me.

I'm surprised that this great film hasn't gotten more comments. In any case, the previous reviews really nail the film pretty well. I only want to add that the filmmaker within the film, Agnieszka (played by Krystyna Janda), is such a fiercely dedicated artist that she really commands our attention in every scene she's in. Sneaky, smart, with a deep cunning and a sly sense of humor, she is the real hero of the film. I love the many scenes where she steals mischievous glances at her co-workers while collecting the provocative material for her film.

Watch for the scene where she kicks her sound man in the shin. Also especially memorable is her encounter with a more successful film director, who she must persuade to be interviewed. She simply walks up to his car, bends down and looks in at him, with a blank expression on her face, and stares at him. It's as if she's persuading him by sheer force of will! Truly a great film, and a great performance.

I first learned of Andrzej Wajda when he won an honorary Academy Award and made his acceptance speech in his native Polish. In the years since, I've watched some of his movies. I've finally seen his "Czlowiek z marmuru" ("Man of Marble" in English). It focuses on a filmmaker (Krystyna Janda) putting together a production about a man (Jerzy Radziwilowicz) who got held up as the paradigm of a heroic Stakhanovite but whose whereabouts are now unknown. Then of course arises the issue of how much she'll be allowed to focus on this man without angering the authorities.

It's safe to say that this movie presaged the rise of the Solidarity movement in its depiction of the workers. Wajda was already inclined to direct independently of the government's confines, and he became one of the most innovative directors of all, along the lines of Stanley Kubrick and Federico Fellini. In the end, this is one that you have to see. I hope to see more of Wajda's movies.

'Man of marble' is usually seen as an bold, anti-communist movie which is strikingly accurate at the deep level of practices within communist countries. Indeed, trough a story of a student who tries to make a graduation film Wajda beautifully succeeds in describing at the same time the soft violence of the '70s in Poland and the totally different hardcore 'prison' violence of the Stalinist regime in the 50's. Hence, it is gradually revealed trough the eye of the camera the contrast between the heroic, raw atmosphere of the first communist years and the light perestroika of the present cinematographic time. Nonetheless, there is a common thread throughout the movie as the all-pervading party monopoly deeply affects everybody and no one has the option of an Utopian escape.

The no exit strategy is probably for me the main theme of the movie. The rebellious young girl who tries to see beneath the propaganda images is also on psychoanalytical trip to confront her family history.

There are two scenes which can more or less summaries the story: in the first one, we can see her right at the beginning in a rough quarrel with her Television supervisor, and we can consequently grasp the theme of the incessant conflict with the authority. However, if on the one level wecan see her rejecting the father figure, on the second level we can witness desire as the film maker is practically possessing the hero statue which she finds in a basement of a museum.

Well, basically the catch of the movie is the intertwine of the story with the girl on the way of her desire and the political level which makes this trip also a trip of a historical clearing up. And, in the strange development of we find that the "fake" hero is in fact an authentic one and that we did know the secret of the narrative - the "hero"(the father, the phallus) of the propaganda is the "true" hero, as he had to face real tough moral problems and he lived "the life in truth" . The heroine can develop at last real emotional attachment with the paternal image and she eventually can end her trip by accepting an ally and a friend in the final scene.

If 165 minutes seems like a long time to watch a film about a Polish bricklayer who becomes a symbol for over-achievement under the Soviet state, well, it probably is, but the film is not as dry as it might sound, and it's worth watching. Wajda adds an extra layer to the story by showing a young woman director (Krystyna Janda) using filmmaking in the 1970's as a means of uncovering the truth about what happened to this guy, and it's interesting when we see that filmmaking two decades earlier had been a means of creating his image. Just as with the communist statues and artwork from the era which show clean-cut, strong, contented workers, it was a director who came up with the idea for the bricklaying challenge in order to extol the virtues of the ideal worker under communism. Despite all this, the bricklayer (Jerzy Radziwilowicz) has an endearing innocence about him. He really wants to do a good job and to set a record, and later fights to try to find his buddy who has been imprisoned. He seems like a symbol of the Polish people of the period, and it's telling this his fate remains unknown and ambiguous for most of the film.

In poking at the so-called Stakhanovite worker, those who outperformed others but then faced resentment and backlash, Wajda deftly shows how it was all based on lies. He also shows a worker falsely imprisoned, the corruption of the state, and the soullessness of the Soviet-era construction projects ("what architecture," one muses), which is pretty impressive stuff to get produced in 1977, but then again, Wajda pushed boundaries throughout his career. I loved seeing the old archival footage of the actual construction of Nowa Huta and the anti-American propaganda, and I also loved the strength of Janda's character. She's a complete badass, striking her defiant poses in bell bottoms and set to 1970's funk/disco music. Wajda's filmmaking itself is a bit workmanlike but she helps bring it to life, and as with several of his other films, this seems essential as a document of Poland over the second half of the 20th century. I probably would have rated it higher in 1977, and even now debated a higher rating.