Word: andrzej
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While Director Andrzej Wajda creates several scenes that are both eloquent and taut (Szczuka's death in the arms of Maciek says all it has to say in three seconds), he is also extremely wasteful in his use of detail. It could further be observed that much of the genuinely sophisticated material and technique in this Polish film would be taken for extraneous artiness in an equivalent French or Italian production...
...Director Andrzej Wajda displays more concern with people than ideas, with the emotions of his heroes than with the symbols of any system. His style is disjunctive and expressionistic, but it is also clear and direct. With a fluid, strikingly graphic technique, he achieves some memorable metaphors: the mad, drunken celebration of victory to Chopin's Polonaise in A Major; the ironic reflection of V-E day fireworks in a stagnant pool, beside which the Communist boss lies dead; the lovers in a ruined church, its Christ figure splintered and dangling upside down in the foreground; Maciek setting fire...
...final image is an evocation of the inevitability of death for Polish heroes as interpreted by Andrzej Wajda, who also directed this film. The insurrectionist leader (Wieczyslaw Glinski) pokes his grimy head through a manhole, headed toward freedom. But when he hears from his sergeant that the men he thought were close behind have gone astray, he kills the sergeant as a betrayer and slowly descends once more into the offal that seals his doom...
...Claude Frank, 32, John Browning, 24, Eugene Istomin, 32, Leon Fleisher, 31, and Canada's Glenn Gould, 25, who has played widely in the U.S. By contrast, Europe has a small handful of young pianists -Austria's Friedrich Gulda and Paul Badura-Skoda, Poland's Andrzej Czajkow-ski. and France's Phillipe Entremont-who are in the same class. The younger pianists are hitting their stride just in time to fill the places being left by an older generation. Some of the Americans are almost sure to step into the shoes of the Backhauses, the Rubinsteins...
...played less well than I could." The second, Vladimir Ashkenazy, 18, who "stupefied" a critic with his technique and profound insight and his colleagues by memorizing the Defossez in two days. Other front-runners in the final twelve were Denver-born John Browning, 23, and Poland's Andrzej Czajkowski (pronounced Tchaikovsky), 20. On the advice of Manhattan's Leon Fleischer, who won the last piano Concpurs, Browning chose Brahms's Concerto No. 2 for his big selection, playing it stunningly, and he was the first finalist to bring order out of the Defossez chaos. Czajkowski reminded observers...