The Man of Marble is a movie set as a denunciation of the communist government that existed in Poland and was grossly misleading and manipulative. The movie director is more concerned with painting a picture of the exploitation by bourgeois traditionalism image that had been created by communist authorities who had taken over the Polish nation (The Man Of Marble). The Man of Iron was also set as a continuation of the story line of The Man of Marble and is also about a young worker involved in anti-communist labour movement as well as a young man working for a radio station and is intended to provide a parallel between the two diverse views on communism (The Man Of Iron). According to Konrad’s statement that “our burden is the state,” one cannot fail to realize the truth of this phrase when considering that the communist government in which these movies are set depicts governments that are oppressive to the people by executing its own citizens who are against its policies. Hence, literally, the citizens feel they are burdened by the same government and state that was expected to protect them (Konrad 432). Polish nationals feel let down by the government that they have so much faith in when it came to power and hence their burden is the state.
The movie The Man of Iron is considered a public exploration of national self-consciousness when one considers that Winkel, who was weak-willed to a government leaning TV, is eventually sent to uncover the dirt done to shipyard strikers, and, particularly Maciek Tomcyzk, who had been executed for leading the strike. The sympathetic reporter is caught up in a historic moment when he all realizes that the same government he has always defended had carried aristocracies on its citizens by killing innocent citizens (The Man Of Iron). He is reborn with a new urge to fight for his countrymen just as Poland, his homeland, is re-born (Konrad 163). Winkel and other national leaders emerge to new realities of the government that did not care for its own citizens as it claimed. While women before only took care of men but stood aside during national protects and decision making, they started to take an active role in national matters that were at the heart of the nation building (Konrad 168).
I agree with the concern of Scribner that feminism was under credit in The Man of Iron movie as compared to The Man of Marble movie. In particular, it should be noted that in the former movie, the females were only pretending to be in solidarity with the men but did not take part in active antagonism. They, therefore, did not suffer most from the wrath of the oppressive communist government and could be termed as taking undue credit for any gains that were achieved during this period. The movie, The Man of Marble, has women who fight alongside men and thus they deserve to also take credit for the change of political landscape in Poland during the time of the movie setting.
Work Cited
Konrád, György. "Censorship in retreat." Index on Censorship 12.2 (1983): 10-15.
The Man Of Iron. Poland: Andrzej Wajda, 1981. Film.
The Man Of Marble. Poland: Film Polski Film Agency, 1977. Film.
