The films, Katyn (2007) by Andrzej, Black Thursday (2011) by Antoni Krauze and Man of Marble (1977) by Andrzej Wajda each portray certain aspects of the Polish culture in different but also similar ways. Moreover, these films indicate how various historical events have helped shape the Polish modes of life in the contemporary world. Further, these films show how the People of Poland have come a long way regarding freedom and personal space since the early years of police brutality and life in the concentration camps. The thesis of this paper is that these films represent excellent portrayal of the Polish historical, cultural themes that have served to define the Polish and French people for over centuries now. Also, this paper advances the position that, as Bloom argues in his work, the Polish cinema and films all portray a history of struggle and a theme of solidarity against communism. In this essay, I will compare and contrast the three films in their historical narrative, contemporary problems, traditional culture and ideas, and ideology. Moreover, I will rely heavily on the book Polish Films by Ford, Hammond, and Krudy.
Similarities in Ideas and Themes
Firstly, all of these films reveal themes of heroism and struggle with cultural and political oppression, In the Man of Marble, the Polish communism is examined by the filmmaker from as early as the 1950s to the present day. The films show how the life of one Agnieszka (Krystyna Janda) and his struggles through the communism life and his heroic acts throughout this period. This shows how the community regards heroism and at the same time how the practice of communism undermined individual freedom and the role of women in the Polish society.
According to Castle (1), the history of the Polish independence and cultural identity may be traced to the period when the country was under the Communist reign and how it managed to retain its cultural values. The author argues that some of the films that were acted during this time that represent the Polish culture are illustrative of the impacts that the world wars had on Poland and how this shaped its history. In the film Katyn, the filmmaker attempts to portray some coherence in the Polish cultural identity and how the country’s turbulent history has had impacts on its culture and history. This author argues that the communist regime in Poland had adverse effects on the cultural history of the Polish people.
One of the common characteristics of Polish heritage films according to Mazierska includes the fact that they concentrate on periods marked by military conflicts and political crises (73). These films point to times of history with battles followed by short periods of stability and peace. These films also show how the Polish society has struggled historically during different historical periods. They also show the role and position of women in the society in a gendered heritage. According to Sarris, however, the films by Wajda may be understood as being ideological in their nature and are representative of history and politics. The author argues that most of these films such as the Man of Marble were produced at a time when the communist regime was in control of Poland. Moreover, the production of these films was influenced by political situations such as censorship and pressure from the state. These films also convey a variety of connotations, meanings, ideas and ideologies of the Polish culture and history. Further, as Skaff points out, these films all show the political role of art and arts in the promotion of common national culture (24). The Man of Marble, for example, was shot and produced during the Stalinist period in Poland. Harris notes that this film contains themes such as an individual against historical forces and solidarity, struggle and the generational dialectics of the society (Bloom 287). Also, these films are a representation of social products for censure and criticism of various ills in the society. They are also a manifestation of socio-political and economic ideas of the makers of these films (Ford & Hammond 75).
Differences
The significant difference between these three films is that all of them though based on similar ideologies; do not seem to suggest the same conclusion. For example, while the Katyn (2007) by Wajda points to political struggle and liberation and individual aspects of heroism, the Marble Man by the same author goes deeper into the political past of the Polish people. Moreover, whereas the Black Thursday involves a recall on the revolt by the Polish people against political oppression, the way in which the scenes are captured in this film are different from other movies. Here, the maker of the film shows us how through a series of protests against the Soviet rule. Also, unlike the other two films, the Black Thursday does not portray characters in much political context. Instead, the characters in the movie and their cultural interactions are described as being entirely separated from politic. It brings out the story of workers coming together to oppose oppression and eventually stamping out dictatorial leadership regime of the Soviets. Furthermore, these films differ regarding the historical narratives presented in each of them. Both the Katyn (2007) and Black Thursday (2011) have much earlier historical narratives than the Man of Marble. They also address different contemporary problems given that all of them were produced and acted in various times in the Polish history.
Additionally, these three films differ regarding the themes and ideologies that each of them contains. The Katyn, for example, is not based so much on the traditional culture of the Polish people but instead rests on the religious aspect of the Orthodox Church in the Polish community. It reveals the role that religion played in the Polish resistance to the Communist regime and the way it finally brought down the system after years of struggle (Garbowski 1). However, at first, Wajda portrays religion as being powerless in successfully forming a formidable resistance against the oppressive regime. On the other hand, Man of Marble seems to be a politically motivated film that brings out the role of politics in the Polish history. It also relates the plight of the Polish people in their struggle for political and cultural freedom. Further, the Black Thursday differs from them on this basis that it conveys a chilling message about one of the most chilling episodes in the Polish history.
Analysis and Interpretation
Conclusion
As has been shown in the above discussion, films, documentaries and cinemas can be used to portray the various historical and cultural aspects of people’s culture. The three films discussed in this essay are all a manifestation of this unique role that such genre can play in revealing the cultural identity, political struggles and the social values that define a community. Though the films are different in some ways, they all portray the Polish culture at various historical moments in varied ways.
Works Cited
Bloom, Jack M. Seeing through the eyes of the Polish Revolution: Solidarity and the struggle against communism in Poland. Leiden & Boston: Brill, 2013. Print.
Castle, Nikki. Between history and fiction: Visualizing contemporary Polish cultural identity. Honors Project Paper 20, 2015. Web. 9 July 2016. <http://digitalcommons.iwu.edu/intstu_honproj/20>.
Falkowska, Janina. Andrzej Wajda: History, politics, and nostalgia in Polish cinema. New York & Oxford: Berghahn Books, 2007. Print.
Ford, Charles and Robert Hammond. Polish film: A twentieth-century history. Jefferson, North Carolina, & London: McFarland & Company, Inc., Publishers, 2005. Print.
Grabowski, Christopher. Film review: Katyn. Journal of Film Review 11.2 (2007). Web. 9 July 2016. <https://www.unomaha.edu/jrf/vol11no2/Reviews/Katyn.htm>.
Harris, Andrew. Andrew Wajda’s generation and Man of Marble from a political perspective. KINEMA Journal of Film and Audiovisual Media 1.1 (2014). Print.
Mazierska, Ewa. Polish post-communist cinemaL From pavement level. Oxford, NY: Peter Lang, 2007. Print.
Skaff, Sheila. The law of the looking Glass: Cinema in Poland, 1896-1939. Athens, Ohio: Ohio University Press, 2008. Print.
