Popiól i diament (1958)

Calificación de los usuarios:

8.0/10   

Director:

Andrzej Wajda

Escritores:

Jerzy Andrzejewski (novel)
Jerzy Andrzejewski (screenplay)

Fecha de Lanzamiento:

29 mayo 1961 (USA)

Género:

Drama | Guerra

Plot:

Maciek, a young Resistance fighter, is ordered to kill Szczuka, a Communist district leader, on the last day of World War II...

Plot Keywords:

Resistance Fighter | Communist | Soldier | Killing | Symbolism

Premios:

Nominated for 2 BAFTA Film Awards. Another 1 win

Comentarios de los usuarios:

Surely the most mature of the trilogy

Reparto

Zbigniew Cybulski	...	Maciek Chelmicki
Ewa Krzyzewska	...	Krystyna
Waclaw Zastrzezynski	...	Szczuka
Adam Pawlikowski	...	Andrzej
Bogumil Kobiela	...	Drewnowski
Jan Ciecierski	...	Portier
Stanislaw Milski	...	Pieniazek
Artur Mlodnicki	...	Kotowicz
Halina Kwiatkowska	...	Staniewiczowa
Ignacy Machowski	...	Waga
Zbigniew Skowronski	...	Slomka
Barbara Krafftówna	...	Stefka (as Barbara Kraftówna)
Aleksander Sewruk	...	Swiecki
Zofia Czerwinska	...	Barmaid Lili
Wiktor Grotowicz	...	Franek Pawlicki (as W. Grotowicz)

También conocida como:

Ashes and Diamonds (USA)
Popiół i diament (Poland)
Cenizas y diamantes (Argentina) (Spain) [es]

Duración:

103 min

País:

Poland

Idioma:

Polaco

Color:

Negro y Blanco

Relación de Aspecto:

1.66 : 1

Sonido:

Mono

Clasificación:

Australia:R | Argentina:16 | Finland:K-16 | Sweden:15

Compañía:

Zespól Filmowy "Kadr"

Trivialidades:

Because of the film's nihilistic tone, the Polish authorities were not keen on it being exhibited outside of the country. Until a low-level official had a print shipped out to the Venice Film Festival where it played to great acclaim.

Errores:

Continuidad: In the scene where Maciek is running away from Drewnowski and then the Russian soldiers, a train above them passes by. In one shot it is going to the left of the screen. Then in the next shot it is going to the right, then to the left again.

Conexiones de Película:

Referenced in Pierscionek z orlem w koronie (1992)

Surely the most mature of the trilogy

Surely the most mature of the trilogy; it's certainly the most elliptical and stylistically audacious. At the start, Cybulski is a laidback, coldly cynical assassin who lolls on his back in a field waiting to carry out his latest hit; suffering a crisis of confidence in light of his awakening love for a woman, he flirts with desertion before resigning himself to the demands of his position. His personal journey speaks eloquently to the national trauma, and he's just the most prominent in a complex collection of transition figures, caught on the official last night of the war, now looking forward but not yet able to escape the ravages of war and the attendant moral and psychological confusion, not yet free of potential victimhood (like the mayor's assistant who on learning of his boss' promotion drinks excessively in celebration of his own presumed advancement, but in his disruptive drunkenness kills off what future he had). The ending, intercutting a personal tragedy with the dancers doing the elegant polannaise in the streaming light of dawn, like disembodied Felliniesque figures, perfectly encapsulates the film's mix of toughness and allusiveness.