Man of Marble, Man of Iron (1976, 1981)

The new Poland is born here

If Andrzej Wajda was born in the USSR, his fate would not be so good. I think that, if Andrzej Wajda was a Soviet film director, his films would be banned by the Soviet authorities until the 1980s. Andrzej Wajda was always interested in the history of his homeland, and his vision almost always was not too ideologically correct.

Even in 1958, in Ashes and Diamonds Andrzej Wajda showed a Home Army soldier Maciek as a positive hero. In 1976, Andrzej Wajda showed it’s past to the forgetful Polish audience and authorities. Finally, in 1981, Andrzej Wajda showed the birth of post-socialistic world. I think that it would be suitable to analyze «Man of Marble» and «Man of Iron» together.

«Man of Marble» depicts the relatively free Poland of the 1970s. A young cinema school graduate Agnieszka chooses an unusual subject for her graduation project – a documentary film about a bricklayer Mateusz Birkut, who was once a hero. The film school authorities are rather skeptical, but anyway they give the green light to Agnieszka. Agnieszka starts her research, but this proves to be a tough task, because Mateusz Birkut is almost completely cut from the history.

As I have written before, «Man of Marble» was shot in 1976. Back then, the official history portrayed the 1950s repressions as a result of actions of the authorities and certain apparatchiks. Besides that, that period of history was officially forgotten. Of course, a lot of repressed people were freed. But no one couldn’t bring back to them the health and heal the soul pain.

While Agnieszka researches the material, she dugs deeper and deeper in the Polish history of the 1940-1950s. During the first postwar years, Mateusz Birkut is just one of the illiterate young workers, who were sent to the great building sites of the new Poland.

When an ambitious young film director and authorities decided to make Mateusz a hero for their own advancement, the life of Mateusz Birkut suddenly changes. Mateusz Birkut becomes a hero, his portrait hangs with other record-breaking workers, he is received by the highest authorities and he marries a beautiful young athlete.

Mateusz Birkut symbolizes the working class of Poland – hardworking and honest people, who are willing to work hard for their homeland. Despite the declaration that the power was passed to the working class; in reality the power was passed from the bourgeois exploiters to the apparatchiks. As bourgeois, apparatchiks view Mateusz Birkut and others as merely an instrument to advance their goals.

Mateusz Birkut sincerely believes in a new ideology and is willing to help his comrades. When he tries to help his arrested friend and cross the path with apparatchiks his fate suddenly changes. Mateusz Birkut is arrested and declared an enemy of state. In the mid-1950s, he is released and rehabilitated. Mateusz Birkut is drawn back in the politics as a symbol of post-totalitarian Poland, but he just merely wants to gain back his life. It is impossible, because Mateusz’s wife has left him and he is cut out from the history.

Agnieszka was brought up in a different Poland (quoting Jean-Luc Godard: «The Children of Marx and Coca-Cola»), but she encounters the prevailing double think. Even the coworkers of Mateusz Birkut have cut out the memory about him. And when Agnieszka almost touches the truth about Mateusz Birkut, the state intervenes – the film is cancelled and Agnieszka is dismissed on the spot.

In «Man of Iron» Andrzej Wajda depicts the events of 1980 – the famous Gdańsk Shipyard strike. Almost everyone thinks that the strike is doomed for a bloody reprisal as previous strikes. Editor Winkel is ordered by the deputy chairman of Radio Committee to achieve coverage compromising the activists…

The activists of the Red May (Paris 1968) were described by the communists as a petit bourgeoisie, who would drop their radical thinking, when it would be their turn to run a family firm and exploit the workers. But in 1980, in Poland, the workers were the main string force – the people who had neither the money, neither the protection from the possible ruthless official actions.

Andrzej Wajda makes the son of  Mateusz Birkut -  Maciej Tomczyk as one of the main heroes. As father, Maciej Tomczyk is brave, honest, incorruptible and decisive. Along with real Lech Wałęsa and Anna Walentynowicz, Maciej Tomczyk starts the strike.

If in «Man of Marble» Andrzej Wajda depicts the relatively free Poland of the 1970s, in «Man of Iron» Poland is depicted as a lost and torn country. Tonight Poland is rioting, but tomorrow its streets could be painted with blood. The society is frightened, but it slowly starts transformation. The transformation is not limited to the workers, but touches even the relatively high class – the mass media.

Andrzej Wajda shows though Winkel the transformation of intelligentsia. Winkel is a drunken loser, who has not got anything in common with rioting bydlo. He eagerly starts to write a compromising coverage. But as he starts digging deeper into the roots of the strike, he begins to feel the common with strikers.

The director portrays the ruthless struggle between workers, who got nothing to lose, and elite, who are desperately clinging to their power and privileges. Solidarność has got only two options – to win or die. The government has army and police, the workers has slogans and moral authority.

Another link between «Man of Marble» and «Man of Iron» is Agnieszka. Andrzej Wajda portrays her spiritual transformation – in the first film she is a hysterical film student, who just want to piss off the authorities; the second film shows her as a devoted reformist and loyal wife of Maciej Tomczyk.

There a lot of anecdotes and stories about near-sightedness, cowardice, stupidity and divisions of the Poles. You could just remember the XVIII century partition of Poland, the war between Home Army and Armia Ludowa. Andrzej Wajda knew those stories, but he thought that there were some Poles who could lead the people to the brighter future.

Maciej Tomczyk is shown as one of those Poles. Because of him and others, the striking people achieved the impossible – the recognition from the Party officials. Despite that, the director is not optimistic – today’s victory could be followed by bloody tomorrow.

This victory is without parades, hymns and fireworks. But a bunch of people have changed the world. Tomorrow they could be executed, but tonight they have drawn the attention of the world and have written their names in History. They showed that no state is all-powerful. The state wanted Men of Marble in order to break them easier, but finally they got Men of Iron, who couldn’t be broken too easily.

In his dilogy, Andrzej Wajda gave the mirror to the Poles and made them watch. Andrzej Wajda thought that you shouldn’t lie or forget about the past or ignore the present. Instead of that, let’s watch this films together.

Przypadek

Every generation yearns for light. It needs reassurance and faith…

Every man encountered events, dictated by the pure blind chance. This chance could be positive, e.g. you got drunk and were late for the plane and because of that you missed the crash; or you have went to some unplanned event and encountered an interesting man. But you must not forget the negative chances, e.g. you have said not-so-important (in your opinion) word or committed not-so-important (in your opinion) action and the cost of these is the relationship with a very dear friend or some other close man.

In 1981, Krzysztof Kieslowski made a film about how one event could influence the life of one single man. After the death of father, a young medical student Witek takes an academic gap and goes to Warsaw. The life of Witek is dependent on one event – will he catch the train to Warsaw?

The film deals with the questions of freedom, personal choice, happiness and fate. In the beginning, Witek follows the wishes of the father and studies medicine. But, before his death, the father tells Witek that he is free to choose his own path. For the first time, Witek grabs the real freedom of choice.

The political path is presented in the first two variants of Witek’s life. In the first variant, Witek joins the Polish Communist Party; the second variant deals with Witek’s life in the Opposition and his embrace of the Catholic faith as a way to gain the meaning of life. At first glance, Witek gains a success in politics, but in reality he loses the freedom, personal choice and happiness. Witek the politician becomes an instrument in the hands of others.

Krzysztof Kieslowski showed us old Communists, who were arrested in the early 1950s, but who continued to advance the Party’s case. One Communist, who inspired Witek to join the Party, left prison as a morally and physically crippled person. He is merely lecturing in the University and tries to distance himself from the political life. Another Communist – Witek’s boss, - understands the crisis of Socialism, but continues formal embrace of the ideology in order to use his experience for future reforms.

The Director shows the Opposition as a bunch of idealistic young people, who could get arrested at any time. The Director treats with the same skepticism the formal embrace of religion, which is practiced by lots of people. Do not think that Krzysztof Kieslowski was an anti-clerical man, he is merely critiquing the formal embrace of religion. The future history of Poland vindicates the views of Krzysztof Kieslowski.

In addition to the questions of freedom, personal choice, happiness and fate, the Director depicts the influence of the past. In the film the past is symbolized in two girls, whom Witek previously encountered. In the first variant this girl is Czuszka; in the second variant the girl is Werka. Witek tries to gain them back but there is an old and banal saying that you cannot bring back the past. The Director agrees with this saying.

In all three variants Paris is depicted as a mean to escape the current. In this case, the Director decides «to play the God» (plagiarizing the interview of Krzysztof Kieslowski on the Three Colors) as a fate and does not allow Witek to escape. In some cases he is merciful, in another cases he is cruel.

The Director thinks that the only way to gain personal happiness is to forger the past and stay out of politics. In the third variant of Witek’s life, he decides not to go to Warsaw, finishes the medical school and marries his school mate. Witek the Doctor, in comparison to Witek the Communist and Witek the member of Opposition, abstains from politics. Only in this variant, Witek gains the personal and professional freedom.

Krzysztof Kieslowski portrayed the Polish society of the early 1980s and the history of one young Polish man. I think that after watching the scene of catching the train, everyone would remember his own «trains». As I said before, the films of Krzysztof Kieślowski have one unique trait – they are universal.

I ask you again, let’s join and watch the films of this great master, who, unfortunately passed away too young.

Tout feu, tout flamme

The École polytechnique alumni Pauline Valance works as an assistant to the Minister of the Economy, Finances and Industry and single-handily supports her family. Everything goes on as usual, until sudden comeback of Victor – the ne'er-do-well dad. Pauline treats him with a cynical suspicion. Her suspicions are realized when Victor makes grandmother to sign a power of attorney certificate and sells the family flat. Driven by animalistic rage, Pauline, along with gangsters, chases her father to the French-Swiss border.

It is not widely known, that Isabelle Adjani has started her career as a comedy actress. Into the troupe of the Comedie-Francaise The Actress has played in classical French comedies. Despite the fact, that Isabelle Adjani has earned her place in the Pantheon after «The Story of Adelie H.». After that, The Actress has been always admired and worshipped for her dramatic roles; nevertheless, she had also sometimes played in cute comedies.

In «Tout feu, tout flamme» Isabelle Adjani shows us a variety of persons: the Princess of Darkness, secretly ruling the French and European economy; the sweet girl, who got to take care of her family; the raging monster, who is ready cut anybody’s throat and so on.

Yves Montand looks good as a ne'er-do-well dad, whose business schemes are always goes belly-up. Actor uses his natural charm and brings comedy relief to the film; the most hilarious scene was the Chinese scene.

Jean-Paul Rappeneau, the director of Von Voyage, mixes genres: comedy; father-daughter drama; gangster film and melodrama. The main theme of this film is the father-daughter conflict, spiced by a comedy sauce.

«Tout feu, tout flamme» is a very cute comedy with a good Isabelle Adjani-Yves Montand acting duo. All those who love French cinema, and especially Isabelle Adjani fans, should immediately watch this film.

7,5/10 

Possession

Goodness is only some kind of reflection upon evil

Back in 1978, Andrzej Żuławski has offered Isabelle Adjani the double role, but she turned it down. Only after the birth of her first son, The Actress has agreed to act in this, to put it mildly, rather strange motion picture.

Mark comes back to his family in West Berlin. From the first minutes, it is obvious that his marriage with Anna is disintegrating. Anna denies any extramarital affairs, but Mark finds out and after throwing a tantrum in café, leaves the family. After three weeks, Mark pays visit to the apartment and finds out neglected son Bob. When Anna comes back, the couple gets into very ugly and violent confrontation. Going mad from jealousy and love, Mark hires a private detective.

Possession starts out as a rather over-the-top family drama: absent husband, sexually frustrated wife, love triangle and son in the middle of it. Nevertheless, after the first eight minutes, Andrzej Żuławski begins to gradually build tension and create atmosphere of the madness. Mark and Anna are starting very violent arguments, autosadism. Despite all of this, Mark still loves Anna and would do anything to get her love back. I think a lot of viewers would think that Mark and Anna should separate, but minute after minute Possession drags you further and further. After the first half, Andrzej Żuławski makes the U-turn,

What I miscarried there was sister Faith, and what was left is sister Chance. So I had to take care of my faith to protect it

The over-the-top family drama stops and starts something, which could’t be categorized in just one genre. The second half of Possession, one could say, is the mix of horror, parable, psychological thriller and philosophic film essay.   

The detective and Mark finds out that into the so-called love nest lives The Thing, fed with corpses, which morphs into the human. Anna tells the bizarre story of its birth.

Andrzej Żuławski adds the favorite Dostoevsky theme – the lack of faith and it’s surrogates. All members of a love triangle are trying to make-up for their lack of faith: Mark by his mad love to Anna; Heinrich by drugs and dzen-buddism; Anna goes even further and creates her own God. Concerning Anna, you could even quote a passage of Kirillov from «The Possessed»: « God is the pain of the fear of death. Whoever conquers pain and fear will himself become God. Then a new life, then a new man, everything new...»

The duality theme plays a vital part in this film, starting with Berlin and the Berlin Wall. Also Mark meets Bob’s schoolteacher Helena, the complete copy of Anna, who is kind, sweet and have a true affection for a boy. The duality theme is used as in a classical literature – good and bad side; thesis and antithesis.

The further you get away from yourself, the more challenging it is. Not to be in your comfort zone is great fun

Isabelle Adjani has earned her place in the Pantheon after «The Story of Adelie H.», but Possession deserves a second statue, in analogy with a Roman triumph, on the Forum of Cinema. You can’t measure The Actress work by acting school standards:  it is not a method acting, it is not any other school; it is Isabelle Adjani’s acting. The Actress has widened the scope of a human possibility in acting; her body language and facial expression captures every aspect of Anna’s psychological condition.   The subway scene provokes a mixed feeling of disgust and amazement. It is hard to believe, that Isabelle Adjani never formally studied acting and after the film, you really begin to appreciate her acting genius.  

I always thought that Sam Neil is good, but rather mediocre actor. Although, in Possession he also showed brilliant acting. Even the simplest Neil’s scenes are filled with madness. For Sam Neil, his «acting Rubicon» was the opening sequence of his secluded life. Heinz Bennent was also good, but his role was rather supporting.

Bruno Nuytten camera takes a vital part into creating the atmosphere of madness. The camera, which is constantly following the characters, makes a 180 or 360 degrees turn and perfectly captures the inner world of the protagonists. The carefree editing style, which gone into a fashion again and annoys, perfectly suits this film.

Possession is a film that disgusts; it is a very tough challenge to watch it. Nevertheless, if you watch this film, you shall never forget it.

9/10