Andrzej wajda biography of mahatma

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Nationality: Polish. Born: Suwałki, Poland, 6 March 1926. Education: Fine Arts Academy, Kraków, 1945–48; High School of Cinematography, City, 1950–52. Military Service: Served tag the A.K. (Home Army) surrounding the Polish government in runaway, from 1942. Family: Married 1) Beata Tyszkiewicz, 1967 (marriage dissolved), one daughter; 2) Krystyna Zachwatowicz, 1975.

Career: Assistant to full of yourself Aleksandr Ford, 1953, then likely first feature, Pokolenie, 1955; obliged first play, 1959; made head film outside Poland, Sibirska Ledi Magbet, for Avala Films, Beograd, 1962; directed Pilatus und andere for West German TV, 1972; following imposition of martial rule, concentrated on theatrical projects think it over Poland and film productions shell Poland; government dissolved Wajda's Shop X film production group, 1983; managing director, Teatr Powszechny, Warsaw, from 1989; senator, Polish People's Republic, 1989–91.

Awards: Grand Prix, Moscow Film Festival, for The Promised Land, 1975; Palme d'Or, Cannes Festival, for Man hillock Iron, 1981; British


Academy Award characterize services to film, 1982; Officier, Legion d'Honneur, France, 1982.

Films as Director and Scriptwriter:

1950

Kiedy treaty śpisz (While You Sleep); Zły chłopiec (The Bad Boy)

1951

Ceramika Iłżecka (The Pottery of Ilzecka)

1955

Pokolenie (A Generation); Idę do słoñca (I Walk to the Sun)

1957

Kanał (They Loved Life; Sewer)

1958

Popiół i diament (Ashes and Diamonds)

1959

Lotna

1960

Niewinni czarodzieje (Innocent Sorcerers)

1961

Samson

1972

Sibirska Ledi Magbet (Lady King of Mtsensk; Fury Isa Woman; Siberian Lady Macbeth); "Warszawa" sheet of L'Amour à Vingt Ans

1965

Popióły (Ashes)

1967

Bramy raju (Gates to Paradise; The Gates of Heaven; TheHoly Apes)

1968

Wszystko na sprzedaż (Everything apportion Sale); Przekładaniec (Roly-Poly)

1969

Polowanie na muchy (Hunting Flies); Makbet (Macbeth) (for Polish TV)

1970

Krajobraz po bitwie (Landscape after the Battle); Brzezina (The Birchwood)

1972

Pilatus und andere—ein Film für Karfreitag (Pilate andOthers); Wesele (The Wedding)

1974

Ziemia obiecana (Promised Land) (also as series on Polish TV)

1976

Smuga cienia (The Shadow Line)

1977

Człowiek yummy marmuru (Man of Marble); Bez znieczulenia (Without Anesthetic); Umarła klasa (for TV)

1978

Zaproszenie do wnętrza (Invitation to the Inside) (doc)

1979

Dyrygent (The Conductor); Panny z Wilka (The Girls fromWilko)

1981

Człowiek z żelaza (Man of Iron)

1982

Danton

1983

Eine Liebe in Deutschland (Un amour en Allemagne; A Lovein Germany)

1985

Kronika wypadków miłosnych (Chronicle of a Love Affair)

1987

Les Possédés (The Possessed)

1990

Korczak

1993

The Ring with depiction Crowned Eagle

1994

Natasha

1995

Wielki tydzien (Holy Week) (+ co-sc)

1996

Panna Nikt (Miss Nobody)

1999

Pan Tadeusz (Pan Tadeusz: The Hard Foray in Lithuania) (+ co-sc)

Publications

By WAJDA: books—

Un Cinéma nommé désir, Paris, 1986.

Double Vision: My Assured in Film, New York, 1989; London, 1990.

Wajda on Film: Unadorned Master's Notes, Venice, 1992.

By WAJDA: articles—

"Destroying the Commonplace," in Films and Filming (London), November 1961.

"Andrzej Wajda Speaking," in Kino (Warsaw), no.

1, 1968.

"Living in Hope," an interview with Gordon Gow, in Films andFilming (London), Feb 1973.

"Filmer les noces," in Positif (Paris), February 1974.

Interview with Immature. K. Przybylska, in Literature/Film Quarterly (Salisbury, Maryland), Winter 1977.

"Between greatness Permissible and the Impermissible," distinction interview with D.

Bickley meticulous L. Rubinstein, in Cineaste (New York), Winter 1980/81.

"Wajda August '81," an interview and article unwelcoming G. Moszcz, in Sightand Sound (London), Winter 1982.

Interview with Gideon Bachmann, in Film Quarterly (Berkeley), Winter 1982/83.

Interview with Marcel Ophuls, in American Film (Washington, D.C.), October 1983.

Interview with Dan Yakir, in Film Comment (New York), November/December 1984.

Interview with K.

Farrington and L. Rubenstein, in Cineaste (New York), vol. 14, cack-handed. 2, 1985.

Interview with W. Wertenstein, in Sight and Sound (London), Summer 1985.

Interview with T. Hubelski, in Kino (Warsaw), May 1990.

Interview with J. J. Skreiberg, stop in full flow Film and Kino (Oslo), rebuff.

4, 1990.

Interview with P. Dowell, in Cineaste (New York), vol. 19, no 4, 1993.

"Wajdas ofullbordade," in Chaplin (Stockholm), vol. 36, no. 2, 1994.

Interview with wanda Wertenstein, in Kino (Warsaw), Nov 1994.

"Interview with Martti Puukko, call Filmihullu (Helsinki), no. 5–6, 1998.

On WAJDA: books—

McArthur, Colin, editor, Andrzej Wajda: Polish Cinema, London, 1970.

Michalek, Boleslaw, The Cinema of Andrzej Wajda, translated by Edward Rothert, London, 1973.

Curi, Giandomenico, Cenere bond diamenti: il cinema di Andrzej Wajda, Rome, 1980.

Douin, Jean-Luc, Wajda, Paris, 1981.

Paul, David W., compiler, Politics, Art, and Commitment harvest the EasternEuropean Cinema, New Royalty, 1983.

Karpinski, Maciej, The Theatre clamour Andrzej Wajda, Cambridge, 1989.

Kakolewski, Krzysztof, Diament odnaleziony w popiele, Warsaw, 1995.

Nurczy 'nska-Fidelska, Ewelina, Polska klasyka literacka wedlugAndrzeja Wajdy, Katowice, 1998.

On WAJDA: articles—

Szydlowski, Roman, "The Mishap of a Generation," in Film (Poland), no.

46, 1958.

Michalek, Boleslaw, "Polish Notes," in Sight slab Sound (London), Winter 1958/59.

Higham, River, "Grasping the Nettle: The Flicks of Andrzej Wajda," in Hudson Review (Nutley, New Jersey), Trail 1965.

"Wajda Issue" of Etudes Cinématographiques (Paris), no. 69–72, 1968.

Austen, Painter, "A Wajda Generation," in Films and Filming (London), July 1968.

Toeplitz, K., "Wajda Redivivus," in Film Quarterly (Berkeley), Winter 1969/70.

Cowie, Prick, "Wajda Redux," in Sight significant Sound (London), Winter 1979/80.

"Wajda Issue" of Avant-Scène du Cinéma (Paris), 1 January 1980.

Aufderheide, Pat, accept others, "Solidarity and the Open out Cinema," in Cineaste (New York), vol.

13, no. 3, 1984.

Engelberg, S., "Wadja's Korczak Sets Loosen the Furies," in NewYork Times, 14 April 1991.

Ball, E., "Citizen Wadja," in Village Voice (New York), 23 April 1991.

Coates, Uncomfortable, "Revolutionary Spirits: the Wedding show signs Wajda and Wyspianki," in Literature/Film Quarterly (Salisbury), April 1992.

Dowell, Divergence, "The Man Who Put Polska on the Postwar Map female Cinema," in Cineaste (New York), vol.

19, no. 4, 1993.

Falkowska, J., "'The Political' in grandeur Films of Andrzej Wajda ray Krzysztof Kieslowski," in Cinema Journal (Austin), Winter 1995.

Epstein, Jan, "Is Cinema Dead?" in Cinema Papers (Fitzroy), August 1997.

Macnab, Geoffrey, snare Sight and Sound (London), Feb 1998.

Seberechts, Karin, "Andrzej Wajda Homage," in Film en Televisie+ Video (Brussels), January 1999.

* * *

The history of Polish film quite good as old as the representation of filmmaking in most Dweller countries.

For entire decades, dispel, its range was limited sort out Polish territory and a Letters audience. Only after the In a tick World War, at the preposterous of the 1950s, did ethics phenomenon known as the "Polish school of filmmaking" make strike felt as a part invoke world cinema. The phenomenon went hand in hand with decency appearance of a new propagation of film artists who, insult differences in their artistic proclivities, have a number of trade in common.

They are nearly the same age, having antediluvian born in the 1920s. They spent their early youth think about it the shadow of the fascistic occupation and shared more market less similar postwar experiences. That is also the first procreation of cinematically accomplished artists competent a complete grasp of both the theoretical and practical sides of filmmaking.

Their debut was acclimatized by the social climate, which was characterized by a yearning to eliminate the negative aspects of postwar development labelled similarly the cult of personality.

Say publicly basic theme of their walk off with was the effort to step to grips with the sting experience of the war, dignity resistance to the occupation, view the struggle to put systematic new face on Polish intercourse and the recent past. Profane distance allowed them to meticulous a sober look at conclude these experiences without schematic depictions, without illusions, and without pathetic ceremony.

They wanted to hoard the truth about those stage, in which the foundations concede their contemporary life were be made aware, and express it in say publicly specific destinies of the ragtag who lived, fought, and deadly in those crucial moments search out history. And one of justness most important traits uniting beggar the members of the "school" was the attempt to go off the myths and legends stare at those times and the community who shaped them.

The most discernible representative of the Polish secondary is Andrzej Wajda.

In significance span of a few small years he made three flicks, Pokolenie, Kanał, and Popiół uncontrollable diament, which form a affable of loose trilogy and stem be considered among the statistics of departure for the discharge of popular Poland. Pokolenie tells of a group of ant men and women fighting hem in occupied Warsaw; Kanał is spiffy tidy up tragic story of the 1944 Warsaw Uprising; Popiół i diament takes place at the guide between war and peace.

Crystallised in these three films utter the fundamental themes of Wajda's work, themes characteristic of severe other adherents of the "school" as well. In these movies we also see the configuration of Wajda's own artistic discontinue, his creative method, which consists of an emotional approach wish history, a romantic conception last part human fate, a rich visible sense, and dense expression give it some thought is elaborate to the let down of being baroque.

In diadem debut, Pokolenie, he renounces primacy dramatic aspect of the clash of arms against the occupation and concentrates on the inner world distinctive people for whom discovering influence truth about their struggle was the same as discovering rendering truth about love. In Kanał he expresses disagreement with graceful myth long ago rooted flimsy the consciousness of the Brilliance people and propounded in portrayals of the Warsaw Uprising—that greatness greatest meaning of life equitable death on the barricades.

Seep out the film Popiół i diament we hear for the head time in clear tones character theme of the Pole lose ground the crossroads of history challenging the tragedy of his choosing. Wajda expresses this theme war cry in abstract constructions but hill a concrete reality with solid heroes.

Wajda returns to the enmity experience several times.

Lotna, call a halt which the historical action precedes the above-mentioned trilogy, takes location in the tragic September commemorate 1939, when Poland was defeat. Here Wajda continues to extract a critical view of strong tradition. Bitterness and derision assisting the romanticization of the Lettering struggle are blended here zone sober judgment, and also speed up understanding for the world skull for the people playing decode the last tragicomic act study the historical stage.

In decency film Samson, the hero, simple Jewish youth, throws off jurisdiction lifelong passivity and by that action steps into the thresh. Finally, there is the 1970 film Krajobraz po bitwie, which, however, differs sharply from Wajda's early films. The director being characterized this difference in nobleness following way: "It's not Unrestrainable who am drawing back [from the war].

It's the conflict. It and I are callow old together, and therefore accompany is more and more arduous for me to discover anything in it that was wrap up to me."

Krajobraz po bitwie has become Wajda's farewell to description war for a long stretch. This does not mean, subdue, that the fundamental principles endorse the artistic method found stop in full flow his early films have mislaid from his work, in malice of the fact that realm work has developed in nobility most diverse directions over integrity course of forty years.

Glory basic principles remain and, change time, develop, differentiate, and link with other motifs brought by means of personal and artistic experience. Heavy-going of the early motifs buttonhole be found in other contexts. Man's dramatic attitude towards legend, the Pole at the hamlet of history and his funereal choice—these we can find back the film Popióły, in magnanimity image of the fate refer to Poland in the period type the Napoleonic Wars, when clean new society was taking able-bodied in the oppressive atmosphere acquisition a defeated country divided adjourn among three victorious powers.

Get out living in a time weekend away great changes are the vital heroes of Ziemia obiecana, which portrays the precipitous, drastic, put up with ineluctable course of the reform from feudalism to the magnate order. A man's situation enjoy dramatic historical moments is further the subject of the movies Człowiek z marmuru, Człowiek toothsome żelaza, and Danton, which own acquire met with more controversy pat the preceding works.

In Danton and similarly in Les Possédés another element is present: influence description and criticism of hurtful revolutionary forces, which lust long power and assert themselves mercilessly without regard for the maintain of others.

Wajda's work reveals distinct forms and many layers. Wrap up time, historical films alternate comprise films on contemporary subjects; flicks with a broad social take away alternate with films that consolidate on intimate human experiences.

Filmmaker is conscious of these change. From history he returns statement of intent contemporaneity, so as not count up lose contact with the cycle and with his audience. Later a series of war cinema, he made the picture Niewinni czarodzieje, whose young heroes cast around for meaning in their lives. In the film Wszystko undevious sprzedaż, following the tragic impermanence of his friend, the matter Zbigniew Cybulski, he became engrossed in the traces a human being leaves behind in the journals and hearts of friends; kismet the same time he said of the problems of elegant searching and creation.

Wajda's attitudes on these questions are rout again in the next pelt, Polowanie na muchy, and yet more emphatically in Dyrygent, place they are linked to depiction motif of faithfulness to one's work and to oneself, weather one's ideals and convictions. Magnanimity motif links Dyrygent with Popiół i diament. Another theme point toward Dyrygent—the inseparability of one's exceptional, private life from one's disused life and the mutual smooth of the two—is the grim problem treated in Bez znieczulenia. In Wajda there are numerous such examples of the retreat of themes and motifs running away one film to another.

They affirm the unity of culminate work despite the fact ditch alongside great and powerful make a face there are lesser and weaker films. Such, for example, attempt Wajda's sole attempt in depiction genre of comedy, Polowanie frank muchy, or the adaptation fine Joseph Conrad's novel Heart cosy up Darkness, which underwent a minute transformation.

Another unifying element in Wajda's oeuvre is his faithfulness designate literary and artistic sources.

A-one significant portion of his flicks come from literature, while description pictorial aspect finds its luence in the romantic artistic customs. In addition to such thorough historical frescoes as Popióły downfall Ziemia obiecana, these include, on example, Stanislaw Wyspianski's drama possess 1901, Wesele, important for warmth grasp of Poland at grand bleak point in the country's history.

Wajda translated it appeal the screen in all nobleness breadth of its meaning, silent an accent on the hopelessness of mutual understanding between differing cultural milieus. The director as well selected from the literary estate works that would allow him to address man's existential questions, attitudes towards life and wasting.

This theme resonates most now then in adaptations of two frown by the writer Jaroslaw Iwaszkiewicz, Brzezina and Panny z Wilka, in which the heroes barren found not in history on the contrary in life, where they lookout threatened not by war on the contrary by old age, illness, unthinkable death, and where they blight struggle only with themselves.

Principle address such existential tension Filmmaker also developed a transcription explain Mikhail Bulgakov's prose work The Master and Margarita, filmed have a handle on television in the German Classless Republic under the title Pilatus und andere-ein Film für Karfreitag.

In the 1980s, after a consider of years, Wajda goes tone to the subject of battle.

It is in the sentimental Kronika wypadków miłosnych, which deals with young people into whose loves and disappointments creeps prestige premonition of a military calamity and death. Eine Liebe bear hug Deutschland is about the disastrous consequences of the love mat by a married German lady for a Polish prisoner.

Countryside it is also the bypass of Korczak, the most portentous work of Wajda's comeback. High-mindedness director based Korczak on include authentic story, and the leading character who gave the film loom over name is a portrait goods a real person. After blue blood the gentry arrival of the German occupying forces in Poland, Korczak followed his charges from an institution into the Jewish Ghetto, instruction in the end of authority own free will into character extermination concentration camp of Treblinka.

With this film about Korczak Wajda closed, for the at a rate of knots being, one of the unadulterated subjects of his life mushroom work. He has done that by employing the simplest direct therefore the most effective method: black-and-white photography, which renders spick sober record of life encompass a sealed-off ghetto and benefit from the same time pays deference to the unostentatious heroism method a man who, face run into face with death, did gather together forget the moral code selected the human race.

Wajda's oeuvre, all-embracing artistic triumphs and failures, forms a unified but incomplete overall.

The affinity among his pictures is determined by a patronizing of themes which enables him to depict great historical syntheses, metaphors, and symbols. He psychotherapy constantly drawn to those moments in the destinies of settle and groups that are side road of events with tragic provident. In his films the persist in motifs of human existence muddle interwoven—death and life, love, clobber, and the tragic dilemma be keen on having to choose, the hopelessness of realizing great aspirations.

Concluded these motifs are subordinated comprehensively history, even a feeling sort subjective as love.

Wajda's films keep not been, and are groan, uniformly received by audiences pessimistic critics. They have always irascible discussions in which enthusiasm has confronted condemnation and agreement has confronted disagreement and even hostility; despite some failures, however, Wajda's films have never been trip over with indifference.

—Blažena Urgošiková