Everyone in Poland has heard of the Katyn massacre but I've been surprised and saddened at how few people in Britain know of the atrocity. In the early part of the Second World War, more than 4,000 Polish soldiers were executed in the Katyn forest near Smolensk in western Russia. This was part of an organised effort to eradicate the military, political and intellectual leadership of Poland and a series of executions in various other locations removed some 22,000 Poles from their loved ones and their nation.
So, who did this? The Germans claimed to have uncovered the bodies in 1943 and blamed the Soviets in an effort to embarrass and divide the Allies. The Soviet Union categorically denied the crime at the time and for decades afterwards, only in 1990 admitting what the Poles and any independent assessor of the evidence knew: Stalin's NKVD perpetrated the horror on his express command.
The incident has now been made into a major Polish film by the acclaimed Polish director Andrzej Wajda whose own father was killed at Katyn and who is now in his 80s. The work was premiered at the Berlin film festival in 2007; it was nominated for the Academy Award for Best Foreign Film in 2008; and it finally arrived in Britain in a few cinemas in the summer of 2009. It is an exceptional work - both powerful and moving - that deserves a much larger audience.
Starting in 1939 with the simultaneous invasion of Poland by the Nazis and the Soviets, it takes us in several jumps to the immediate post-war period and underlines that the shame of Katyn was not just the deaths of the 22,000 in 1940 but the denial of the truth by so many people for so many years afterwards. Through the device of a prolonged flashback, the film concludes with a return to Katyn with close-up scenes of the sheer brutality of what was unquestionably a war crime.
The film is based on a novel by Andrzej Mularczyk and revolves around a number of fictional families with a fair bit of location work in Krakow, a city centre that looks today much like it did in the 1940s and which I have visited. The photography and acting are both excellent and selective use of wartime film footage simply adds to the sense of verisimilitude.
Footnote: To my utter astonishment, at the Renoir cinema in central London where I saw the film, as I descended the stairs to the screen, I was given a leaflet by a representation of something called The Stalin Society which insisted that the massacre was carried out by the Germans in 1943 and that Wajda's film is simply part of a sustained attempt to discredit communism at a time of economic crisis when so many people would see it as the obvious alternative to capitalism.
So, who did this? The Germans claimed to have uncovered the bodies in 1943 and blamed the Soviets in an effort to embarrass and divide the Allies. The Soviet Union categorically denied the crime at the time and for decades afterwards, only in 1990 admitting what the Poles and any independent assessor of the evidence knew: Stalin's NKVD perpetrated the horror on his express command.
The incident has now been made into a major Polish film by the acclaimed Polish director Andrzej Wajda whose own father was killed at Katyn and who is now in his 80s. The work was premiered at the Berlin film festival in 2007; it was nominated for the Academy Award for Best Foreign Film in 2008; and it finally arrived in Britain in a few cinemas in the summer of 2009. It is an exceptional work - both powerful and moving - that deserves a much larger audience.
Starting in 1939 with the simultaneous invasion of Poland by the Nazis and the Soviets, it takes us in several jumps to the immediate post-war period and underlines that the shame of Katyn was not just the deaths of the 22,000 in 1940 but the denial of the truth by so many people for so many years afterwards. Through the device of a prolonged flashback, the film concludes with a return to Katyn with close-up scenes of the sheer brutality of what was unquestionably a war crime.
The film is based on a novel by Andrzej Mularczyk and revolves around a number of fictional families with a fair bit of location work in Krakow, a city centre that looks today much like it did in the 1940s and which I have visited. The photography and acting are both excellent and selective use of wartime film footage simply adds to the sense of verisimilitude.
Footnote: To my utter astonishment, at the Renoir cinema in central London where I saw the film, as I descended the stairs to the screen, I was given a leaflet by a representation of something called The Stalin Society which insisted that the massacre was carried out by the Germans in 1943 and that Wajda's film is simply part of a sustained attempt to discredit communism at a time of economic crisis when so many people would see it as the obvious alternative to capitalism.