There are some sexual references here and there.


Film review:Translated by www.rabudo-ru.com


People often attribute the film style of the past 100 years simply to realism and expressionism. Based on this, it can be inferred that the aesthetic appeal of film authors and directors can also be divided into “film for film” and “film for society”. The former deliberately interrupts the connection with the audience, while the latter consciously undertakes the historical mission of speaking for the people. The two occupy different positions in different countries. In the film creation of third world countries, the concept of nation and state has always dominated, not to mention whether the creator still has “leisure” to talk to himself in a special period of time. Poland has been accompanied by suffering and oppression since the birth of this nation. Artists growing up in this land have a deep insight into the national crisis and pay keen attention to the fate of the country. Vaida is undoubtedly one of the most outstanding representatives. From the “second-class film” different from the official government film in the 1950s to a series of traditional and unrealistic films in the 1960s, to the “moral anxiety film” in the 1970s and the Kayin tragedy the year before last, Vaida’s film history witnessed the beginning of the “Polish school” Grow and grow. Let’s go upstream along this endless historical river to 1958, review Vaida’s immortal masterpiece ashes and diamonds, and once again experience the vibration from the depths of a nation’s soul.

War and Peace

The film focuses on the less than 24-hour period from the day of war victory (Germany’s unconditional surrender) to the next morning, but this short time clearly divides two distinct periods of history: War and peace. Ironically, what the film began to show us was not peace, but an assassination in broad daylight. Machik and Angie killed two people cleanly. Ironically, they soon learned that they had killed the wrong people. They were not the chairman of the Communist Party, but the workers of two cement plants. The opening of the film is very wonderful. Metaphors such as the cross, the little girl and the body fire of the assassin are not only a concise account of the character, but also a metaphor: when Angie told machik that the target was coming, machik was lying leisurely on the lawn. As soon as he heard his companion’s voice, he immediately got up and picked up the gun. If it is said that machek resting on the lawn brings peace to the audience, machek suddenly takes up the gun and brings the audience into the shadow of war. The time of peace is so short on this special day. Will new Poland come with the dawn? Machik will lead us through a thrilling night, where the past and future, ideal and reality, conspiracy and love will tangle with each other, and a nation has to make choices related to its destiny.

The main part of the film is unfolded in a small hotel. Vaida gathered all kinds of people from assassination organizations, Communist party chairmen, Democrats, upper class nobles and lower class people here to welcome the bright night after a long dark experience. In this special period of social transformation, various contradictions will occur alternately among historical reality, national consciousness and personal consciousness. The choice of different political paths and the confrontation of various political ideas, but the uncertainty of history and future makes it so funny that people can grasp only the present. The possibility of moving from one war to another is more certain than the desired peace. In the face of the unpredictable future, everyone can only act as the victim of idealism. For a new Poland and to regain the hard won freedom (Poland just realized full autonomy in 1918), machik struggled between ideal and reality, obedience and resistance.

Stalin’s portraits appear in the background at least three times. They are tilted or inverted, which is a perfect footnote to Gomulka’s “non Stalinization” era, and implies the arrival of the crisis.

Son and father

The dramatic tension between machik and schukatz, the Communist Party chairman he is going to assassinate, is the most fascinating plot setting of the film. The manslaughter at the beginning of the film suggests a kind of fate. Then they come to the same hotel to deepen this sense of fate. The only three meetings finally fulfill this fate. Schukatz is portrayed as an amiable father: in appearance and action. As soon as he returned home, he asked about his son, but his late wife’s sister (an anti Communist) told him that the child was missing. What we see from these scenes is not the chairman of the Communist Party, but a father with a 17-year-old son. The first and second meetings with machik are the plots in which he borrows a fire and lights a cigarette from machik. The two identical plots imply completely different themes. The first is the assassin and the assassin, and the second is the collision of different values (schukatz represents a new order and machek symbolizes the past). The first was with Angie, and the second was with Christina. The last time he was still in a kind of chaos, the last time he began to think about what he really wanted to live. But when he had no time to choose, he had to face schukatz again. This time will change everything.

Interestingly, schukatz’s son is 17 years old, and machik lives in room 17. Schukatz’s son has the same political position as machik. Schukatz’s son was arrested. Schukatz was assassinated by machik on his way to see his son. There is also a hint in the assassination process: machik quickly passed schukatz first, and he became the end of schukatz’s advance (originally his son). Machik suddenly turned back and fired. This time, unlike the scene at the beginning, (the victim fell back after being shot in the previous time, but this time it was forward) schukatz fell in machik’s arms. In this scene, the role of schukatz’s “father” and the role of machik’s “son” establish a mysterious connection, which the dramatist can’t detect, but the audience feels strongly. It can be said that Vaida completed a hamlet fable here, killing his father and replacing his father’s position. Machik is very much like the Danish prince who turned a revenge into a search for the ultimate meaning of life. He died for his idealism with an assassination. Schukatz projected the double mirror image of machik’s enemy and father, and he completed a painful self interpretation. The sudden appearance of gorgeous fireworks in this scene put a “gorgeous” end to the assassination. The fireworks that bloom wantonly in the night sky are so beautiful, and machik is so lonely with the body falling on him in the night. National festivals have become personal death days, and individuals have such a small position in the cruel political struggle. The fleeting fireworks also revealed the inevitable instantaneity of worldly things. Machik escaped in the fireworks. Who dares to say that he won’t fall to the ground next time?

Survival and death

Machik is a survivor of the old age. The cup and sunglasses he carried with him almost never took off have become his objects to contact the past and trace history. When he told Christina that she didn’t take off her glasses because of the Warsaw Uprising (Vaida’s last work sewer is a tragic story about the Warsaw Uprising), we knew that he was not ready to say goodbye to his past. Machik still lives in the dark sewer. After all, he is not an opportunist like zieglovsky. He is a lonely soul infected by death. He bears the pain and misfortune of a nation. He is looking for identity and identity in the new society. People often call machek a typical “anti hero”, but in fact he is not an “anti hero”. The concept of “anti hero” comes from the new wave of France. When depicting the protagonist, he deliberately “avoids the sublime”, which will be carried forward by Hollywood. The important reason why machik is not an “anti hero” is that he does not keep a distance from reality and society. He does not have the capital of “onlookers”. On the contrary, he is trapped in reality and influenced by the times. He is not an existentialist who “protects himself”, but an idealist soldier who “helps the world”. Based on this, machik is not an “anti hero”, but a real hero.

Vaida did not deliberately set any moral boundaries when shaping the characters. Whether it was marchik or schukatz, they were noble, they all had traces of the past, and they were not afraid to devote themselves to politics.

The film ends with another legend. After saying goodbye to Christina, machik inadvertently saw a train passing behind him when angi beat qiglovsky. The distant train symbolized that machik had no way to go. (the reality is that ziburski himself died accidentally while catching the train.) when he was wounded by the police, the bright red blood mark on the white cloth became the best interpretation of the Polish flag, and the martyrs exchanged their blood for a new Poland. What mazik’s death left to the audience is a great paradox. A man who struggles for a free new Poland has no freedom of choice. He has to kill, and he has no right to choose love. Freedom is a ternary concept, including the subject of freedom, the intervention and obstacles in the process and the final goal. Machik fought for freedom, but after overcoming the intervention and obstacles (Germany and schukatz), he found that the original clear goal was blurred and disappeared. This is true for machek and for Poland as a whole? A country without goals is terrible and doomed to have no way out. In the film, Vaida passes through the long and narrow stairs, garbage cans and coffins of the hotel, and even the images of moths flying to the fire seen by schukatz’s son imply death. This man and this country are waiting to be redeemed.

Ashes and diamonds

Ashes and diamonds are two diametrically opposite objects. We can see this opposition at the macro and micro levels of the film.

From a macro point of view, there are three obviously comic passages in the film, which we can regard as “Diamonds”. They are the dialogue between the old editor and sieglovsky at the bar; Machik’s date with Christina in the room is the bullet that machik accidentally dropped before looking for; Machik is helping Christina repair her broken heel in a chapel. But we soon found that this comic scene quickly turned into an “ashes” tragedy. Tsiglovsky then lost control at the party; Machik recalled the painful past; I saw the two cement factory workers he killed by mistake in the church.

On the micro level, fireworks and corpses, violets and trash cans •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• She is machik’s diamond, which is confirmed by machik’s dumping on a huge garbage plant.

One of the scenes that moved me most in the film was that Christina opened a small window in the morning and the sunshine of a new day came in. Although it only lit up a small part of the house, it was hope and the future after all. Machik just hurried to say goodbye and left with his back to the sun. Their love eventually became a one night stand, and that little light could not shine into machik’s dark inner world after all. But we also saw the old porter unfolding the Polish flag in the dark corner, holding the flag to the outside to welcome the birth of a new Poland. The celebration in the house has just begun. People dance expressionless. Christina is also pulled into the dark dance floor. The future of the country is still dark and unclear, and the freedom of the nation is still out of reach.

Accompanied by ojinsky’s “goodbye, motherland”, people danced.

Goodbye, machik; Bye, kiboski

Goodbye, motherland, goodbye, Poland

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