Word: wajda
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Dates: during 1980-1989
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...Solidarity's cinematic messenger, a director whose films, including Man of Marble and Man of Iron, were surprisingly critical of life in Communist Poland. Rounded up along with other Solidarity dissidents during the Polish government's declaration of martial law last December, Andrzej Wajda, 56, was held under house arrest. Then, in a reversal, Polish authorities decided to let him leave Poland temporarily to shoot a film in Paris. Wajda, whose Man of Iron was nominated for an Oscar, has refused all interviews in France. But in a formal statement, he did say, "The message of my films...
Among the many candles that have been lighted in honor of the free Polish spirit, Man of Marble and Man of Iron seem to be the least likely to gutter out as time goes on. It is possible, in fact, that these films of Wajda's (who last week was still reported under arrest in Poland, along with other artists and intellectuals) may become perpetual flames in the perpetual struggle against tyranny...
...Marble. The life of a Polish Everyman-Stalinist hero turned Stalinist victim-is examined in Andrzej Wajda's intricate, ironic study of humanity distorted by totalitarianism. The irony has become yet more bitter: Wajda, head of the Polish filmmakers' union, is now reported under arrest...
...Poland's Lech Walesa, leader of the Solidarity movement that is shaking Eastern Europe, sold out? And for $33? Not really. Walesa, 37, has simply turned movie star. In Director Andrzej Wajda's Man of Iron, a dramatization of last summer's shipyard strikes and a sequel to his acclaimed Man of Marble, Walesa plays himself. He apparently has no strikes against him. Says Wajda: "He performed without any stage fright and even joked that he might want to join the film company." His one scene yet to be filmed will show Walesa taking a meeting...
...American audiences this may sound rather obscure. But Director Wajda (Ashes and Diamonds, Kanal) is a subtle and often witty ironist. He is also a wise and compassionate artist who never allows a political message to dominate the human story. Though they never meet, the man and the woman become, in effect, antagonists. Each represents the idealism of a particular moment. The crusading journalist must reveal the "secrets" of an evil system; he must resist, as he al ways has, the disaffection implicit in self-awareness and worldliness. Better to bury himself in the bitter anonymity that she succeeds...