Ashes and Diamonds (film) - Wikipedia
Roger Waters — 'ashes or diamondsfoe or friendwe're all equal in the end'. 10 Ashes and Diamonds / Popiol i diament "Maybe I'll get more excited when I actually see So conscious is Egoyan of this relationship of visual images to our in a small Eastern Polish town, where citizens are celebrating the end of World . But arguably the greatest in the trilogy is Ashes and Diamonds, of conscience and of loyalty, and is further up-ended by falling for a girl in the.
Ashes and Diamonds
He escorts Krystyna back to the hotel, where she has to go back to work at the bar until it closes at 3: He tells Andrzej that he has fallen in love with Krystyna, and although he is not a coward, he cannot continue killing and hiding and wants to lead a normal life. Andrzej is not only his friend, but also his commanding officer in the Home Army, and reacts as such, suggesting that Maciek would be a deserter if he failed to carry out the order to kill Szczuka.
Maciek is taken aback, but then decides he must carry out his orders. He begins to stalk Szczuka, and when Szczuka forgoes his car to walk to the detention area holding his son, Maciek takes advantage of the opportunity to shoot him.
Andrzej Wajda: Ashes and Diamonds | Film | The Guardian
As Szczuka falls, fireworks celebrating the end of the war fill the sky. The following morning, Maciek goes to the truck where Andrzej awaits.
From concealment he watches as Drewnowski arrives thinking he will join them, but Andrzej is aware that Drewnowski is only doing it because he has no other choice.
Andrzej throws him to the ground and drives off. When Drewnowski sees Maciek, he calls out to him.
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- Andrzej Wajda: Ashes and Diamonds
Once again, as in most of my films, it is the cinematographer as much as the director who should be praised. Jerzy Wojcik's plastic work is outstanding. Wajda once said to me, when I asked him whether he would prefer the freedom of Western film-making to the artistic constraints of the Eastern bloc, that there were always ways of getting round political censorship but no way to avoid the censorship of money.
Later in his career, when his disillusion with the Communist party was complete, he showed - with Man Of Iron, Man Of Marble and several other outstanding films - exactly what he meant. Ashes and Diamonds is not without irony, such as the moment when Maciek and the Party official fall almost ludicrously into each other's arms as the one kills the other; and the victory banquet at the hotel where the polonaise Farewell, My Homeland is played and where some know their careers are at an end while others prepare to accept government posts in Warsaw.
The title of the novel by Jerzy Andrzejewski, who also wrote the screenplay, is taken from romantic poetry: And it is the film's ambiguities, as the film-maker tries to come to grips with the myths and legends of the era, that continue to render it fascinating.
Perhaps the distinguished novelist Maria Dabrowska was right to say at the time that it told as much of the truth as could be told in the circumstances. Such praise may suggest a work partially tainted at source, and Wajda himself appears to endorse this view in his post The Ring with a Crowned Eaglea corrective echo of the earlier endeavor.
That suggestion will be spelled out graphically later in the film, when Maciek enters a ruined church with his one-night lover, Krystyna, and an image of Christ crucified hangs upside down between them.
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Shortly thereafter, the camera will slide down again from Maciek to the corpses of the men he killed earlier, recalling the time before he was a sympathetic figure. In retrospect, moreover, any inhumanity in him can be read as the imprint of the war that is all he has ever known and that has damaged his perspective as well as his sight. The sign of that damaged vision is found in the dark glasses that do double duty as a realistic image of the effects of wandering in the sewers as a Warsaw Uprising insurgent here Wajda evokes his previous film, Kanal and as the symbol of late-fifties existential cool.
Maciek has one foot in the existentialism of resistance, another in the existentialism of fashion. The question of whether the balance is merely apparent, its even-handedness a smokescreen for stronger allegiance to Maciek, goes to the heart both of the work and the controversy around it, as it can be argued that we are not so much with Maciek as with Cybulski, and simply because of the greater power of his performance.
Having failed to assassinate Szczuka at the beginning, Maciek is ordered to complete the job.