8.0/10
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The Promised Land (1975)

Ziemia obiecana (original title)
At the turn of the century, Lodz, Poland was a quick-paced manufacturing center for textiles, replete with cutthroat industrialists and unsafe working conditions. Three young friends, a ... See full summary »

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Writers:

(novel) (as Stanislaw Reymont),
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Nominated for 1 Oscar. Another 6 wins. See more awards »
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Cast

Cast overview, first billed only:
...
Wojciech Pszoniak ...
Andrzej Seweryn ...
Anna Nehrebecka ...
Tadeusz Bialoszczynski ...
Ojciec Karola - Karol's Father
Bozena Dykiel ...
Mada Müller
...
Danuta Wodynska ...
Müllerowa
Marian Glinka ...
Wilhelm Müller
Andrzej Szalawski ...
Jadwiga Andrzejewska ...
Bucholzowa
Kalina Jedrusik ...
Jerzy Nowak ...
Stanislaw Igar ...
...
Ojciec Maksa, Maks' Father
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Storyline

At the turn of the century, Lodz, Poland was a quick-paced manufacturing center for textiles, replete with cutthroat industrialists and unsafe working conditions. Three young friends, a Pole, a Jew and a German, pool their money together to build a factory. The movie follows their ruthless pursuit of fortune. Written by krasnoludek

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

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Details

Country:

Language:

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Release Date:

21 February 1975 (Poland)  »

Also Known As:

The Promised Land  »

Box Office

Budget:

PLN 31,300,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (re-release) | (4 episodes) (TV)

Sound Mix:

| (re-release)

Color:

(Orwocolor)

Aspect Ratio:

1.66 : 1
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Did You Know?

Quotes

Karol Borowiecki: I have nothing, you have nothing, and he has nothing; that means together we have enough to start a factory.
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Connections

Version of Ziemia obiecana (1927) See more »

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User Reviews

 
Bravura Film-making of the Highest Order!
22 January 2006 | by (New York, NY) – See all my reviews

Made after THE DAMNED, but before 1900, this operatic-style melodrama, about the industrial revolution in Lodz ca. 1895, is far better than either. Like the other two films, it takes an extreme situation in history and makes it more extreme, piling on the excess. Two examples here: a garden party that's like a Roman orgy, with naked women, tigers in cages, etc., and a scene where a worker grapples with his boss and they fall into a giant machine which instantly spews out their bodies as huge chunks of raw meat. But whereas Visconti, and, particularly, Bertolucci, ultimately drown under their excesses, Wajda maintains total control over his narrative. The characters and their single-minded mission hold the film tightly together, and the visual excesses seem like an inevitable part of the narrative, not sideshow set-pieces. The film is incredibly visceral: the thrill of making a killing on the financial market, the inhuman noise of the factories, the excitement of undercurrents of rumors among patrons at the opera. Most of all there's the brilliant use of relentless, machine-like music throughout that keeps up the unremitting unflagging pace. The film has a power which stays with you long after you've left the theatre! And it's a virtuoso recreation of a time and place. It must have been extremely costly to make. The subject certainly seems safe for an East European-bloc filmmaker--if ever capitalists were villains, it must have been at that time and place. But in fact Wajda was making a politically dangerous statement. The final scene of workers being shot at the order of the owners was an explicit comment on workers being shot in communist Poland a few years before the film was made. This is a great film by one of the greatest filmmakers of the twentieth century!


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