Original title: Krajobraz po bitwie
Origin. Poland. Length: 101 min.
Color. Language: Polish, English. Nominated
Subtitulado Palma de Oro, the Festival de Cannes 1970
Créditos
Dirección: Andrezj Wajda
Guion: Andrezj Brzozowski Relatos Cortos sobre Borowski
de Música original: Zygmunt Konieczny
Fotografía: Sigmund Samosiuk
Edici + it: Halina Prugar-Ketling
Diseño de producción: George Szeski
Escenografía Leonard Mokicz
vestuário: Jerszy Szeski, Renata Vlasov
Maquillaje: Halina Ber
Sonido: Eugene Maciaszek
PROTA GONISTAS
Daniel Olbrychski (Tadeusz)
Stanislas Celinska (Nina) Alexander
Bardini (Professor)
Malanowicz Zygmunt (Sacerdote)
Tadeusz Jancz (Karol)
Drogosz Leszek (Tolek)
Stefan Friedman (Gypsy)
Jerzy Zelnik (U.S. commander)
COMMENT
The film begins with the liberation of a concentration camp, where prisoners are jubilant to the snow fields , breaking the windows of the barracks where they were locked up, impulsively taking off their clothes in the field and throwing them into pits of fire, thus burning as symbols of the degradation of human beings and rejoicing with the arrival of Allied troops.
An intellectual and pragmatic young poet, Tadeusz, casually observes the spectacle and fight to retain his books has managed to hide during the chaos. But behind the constant movement of released prisoners who are being relocated to other places and statements provided by a sympathetic but culturally naive supervising officer, the changes in the austere lives of the prisoners should not be large.
Unable to return to their homelands, the prisoners remain indefinitely behind gates and fences, boundaries patrolled by security forces. Tadeusz thinks, reflecting on camera, the war ended and 1945 happened while we held behind barbed wire. The victors are afraid of these people and keep them and keep very well so do not affect their freedom.
Deeply disturbed by the atrocities and horrors and facing an uncertain future away from their homelands, the prisoners are reduced to self-destructive and immoral behavior: alcoholism, favoritism in the distribution of food, seductive and sometimes exploitation of vulnerable women who come to the field . Among them is a stoic and disillusioned Nina, who is in Tadeusz certain amount of affection. But as the protagonists struggle to reconcile their deep loss and emotional inertia, can they survive to love and humanity in the context of restricted freedom and an uncertain future in Poland after the war?
Based on the stories "The Battle of Grunwald" and "Ladies and gentlemen, this way to the gas, "survivor Tadeusz Borowski fields, the film is a scathing portrait of cultural rootlessness and alienation of the Polish post-war generation. The director reflects the feeling of inertia, anxiety and pessimism of a generation displaced, forced to live a long exile while his nation struggles to rebuild under the uncertain and turbulent Soviet times, controlling the communist Poland.
Through repeated sampling of deshumanziación, degradation and barbarism, Wajda develops an incisive commentary and a cautious account of the suppression of personal freedoms lass and the spread of a destructive ideology, creative the atmosphere of the Cold War.
Origin. Poland. Length: 101 min.
Color. Language: Polish, English. Nominated
Subtitulado Palma de Oro, the Festival de Cannes 1970
Créditos
Dirección: Andrezj Wajda
Guion: Andrezj Brzozowski Relatos Cortos sobre Borowski
de Música original: Zygmunt Konieczny
Fotografía: Sigmund Samosiuk
Edici + it: Halina Prugar-Ketling
Diseño de producción: George Szeski
Escenografía Leonard Mokicz
vestuário: Jerszy Szeski, Renata Vlasov
Maquillaje: Halina Ber
Sonido: Eugene Maciaszek
PROTA GONISTAS
Daniel Olbrychski (Tadeusz)
Stanislas Celinska (Nina) Alexander
Bardini (Professor)
Malanowicz Zygmunt (Sacerdote)
Tadeusz Jancz (Karol)
Drogosz Leszek (Tolek)
Stefan Friedman (Gypsy)
Jerzy Zelnik (U.S. commander)
COMMENT
The film begins with the liberation of a concentration camp, where prisoners are jubilant to the snow fields , breaking the windows of the barracks where they were locked up, impulsively taking off their clothes in the field and throwing them into pits of fire, thus burning as symbols of the degradation of human beings and rejoicing with the arrival of Allied troops.
An intellectual and pragmatic young poet, Tadeusz, casually observes the spectacle and fight to retain his books has managed to hide during the chaos. But behind the constant movement of released prisoners who are being relocated to other places and statements provided by a sympathetic but culturally naive supervising officer, the changes in the austere lives of the prisoners should not be large.
Unable to return to their homelands, the prisoners remain indefinitely behind gates and fences, boundaries patrolled by security forces. Tadeusz thinks, reflecting on camera, the war ended and 1945 happened while we held behind barbed wire. The victors are afraid of these people and keep them and keep very well so do not affect their freedom.
Deeply disturbed by the atrocities and horrors and facing an uncertain future away from their homelands, the prisoners are reduced to self-destructive and immoral behavior: alcoholism, favoritism in the distribution of food, seductive and sometimes exploitation of vulnerable women who come to the field . Among them is a stoic and disillusioned Nina, who is in Tadeusz certain amount of affection. But as the protagonists struggle to reconcile their deep loss and emotional inertia, can they survive to love and humanity in the context of restricted freedom and an uncertain future in Poland after the war?
Based on the stories "The Battle of Grunwald" and "Ladies and gentlemen, this way to the gas, "survivor Tadeusz Borowski fields, the film is a scathing portrait of cultural rootlessness and alienation of the Polish post-war generation. The director reflects the feeling of inertia, anxiety and pessimism of a generation displaced, forced to live a long exile while his nation struggles to rebuild under the uncertain and turbulent Soviet times, controlling the communist Poland.
Through repeated sampling of deshumanziación, degradation and barbarism, Wajda develops an incisive commentary and a cautious account of the suppression of personal freedoms lass and the spread of a destructive ideology, creative the atmosphere of the Cold War.
be screened at the Museum of the Holocaust, Montevideo 919, Buenos Aires, Thursday, May 28, 2009 at 18:30
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