What I learned was that he was born March 6, 1926, Suwałki, Poland the ancestral town of my own ancestors on my paternal grandfather’s side.
Wadja’s first film, A Generation, originally entitled Candidate Term, was by the first post-war generation to leave Lodz Film School who worked with Wajda on his first film. One of those graduates,
In Volker Schlöndorff's tribute to Andrzej Wajda, who died on Sunday, October 9, 2016, he recalls the impact he had on him and the actors the legendary director worked with, including Hannah Schygulla, Gerard Depardieu, Krystyna Janda, Daniel Olbrychski, Wojciech Pszoniak and Andrzej Chyra.
Andrzej Wajda on the set of Kanal
Volker has been teaching at the Andrzej Wajda Film School and in his remembrance he gives us an intimate portrait of a filmmaker who impressed him early on with Kanal, Ashes And Diamonds and The Promised Land, and even more later in life when he got to know the man behind the films.
Andrzej Wajda received an honorary Oscar in 2000 from the Academy of Motion Picture Arts and Sciences.
"It is going to be a heavy walk and a beautiful day
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Best known for his war trilogy of “A Generation,” “Kanal” and especially “Ashes and Diamonds,” he was nominated for the Academy Award for Best Foreign-Language Film on four occasions over the course of more than 30 years: “The Promised Land,” “The Maids of Wilko,” “Man of Iron” and “Katyń”; “Man of Iron” won the Cannes Film Festival’s Palme d’Or. His most recent film, “Afterimage,” screened in Toronto and was selected as Poland’s Oscar submission; though not intended as such, it serves as the swan song of a nonpareil career that lasted more than six decades.
As for many other people, my introduction to Polish cinema came with Andrzej Wajda’s trilogy: Ashes and Diamonds, Kanal and A Generation – actually, they were released out of order here in the Us, and we saw Kanal first, followed quickly by Ashes, both in 1961, and then we got to see A Generation later. Among the three, it was Ashes and Diamonds that had the greatest impact on me. It announced the arrival of a master film-maker. It was one of the last pictures that gave us a real testament of the impact of the war, on Wajda and on his nation. It introduced us to a whole school of film-making, related to what was coming out of the Soviet Union but quite distinct.
Camerimage, the cinematography festival held in the Polish city of Bydgoszcz, is to pay tribute to the late Jerzy Lipman with a retrospective of his work.
Films shot by the Polish cinematographer will be screened as part of Camerimage’s Remembering the Masters series throughout the 22nd edition of the festival (Nov 15-22).
Included in the series will be Kanal (1957), Knife in the Water (1962), A Generation (1955), The Ashes (1965) and Colonel Wolodyjowski (1969).
Lipman, who died in 1983, is considered one of the most eminent cinematographers in Polish cinema history and is a co-originator of the Polish Film School movement.
Lipman endured occupation and imprisonment during the Second World War before he became a celebrated filmmaker. After his release in 1948, he joined the Cinematography Department of the National Film School in Łódź and graduated in 1952.
As a student, he was the
Is being epic a genre distinction? Even before D.W. Griffith came along there were epic films out there, either historical or biblical, with great big heroes and towering sets. And every age of cinema has had its epic presentations: The Ten Commandments gave us the plagues of Egypt with Charlton Heston to part the Red Sea, David Lean presented us with an epic desert amongst other things, and Baz Luhrmann showed off an epic Australia. It’s all to do with the sweeping music, the majestic pan of the camera, the slow motion and the grand emotions.
Stalingrad has all of these things, and I get the feeling that it set out to put itself squarely in the epic genre. I watched it in 3D and it was an enormous experience,
This isn’t a great film, per se, but it is still a harrowing and compelling portrait of resilience in the face of evil. Best known for her fact-based exploration of Hitler youth, “Europa, Europa,” Holland is skilled at creating the sort of vividly atmospheric environment that seeps into a viewer’s bones. One of my favorite films as a child was Holland’s sublime 1993 adaptation of “The Secret Garden,” which viewed the gothic interiors and lush mazes through the eyes of bewitched children.
Blu-ray Rating: 3.5/5.0
With “In Darkness,” Holland burrows beneath the chaotic streets of a Polish city,
Which British town is furthest from the sea?
The distance from the sea depends how you define "sea". Here in Ilford, tidewater – the River Roding – is just a mile away, but we are 34 miles by rail from Southend-on-Sea, the nearest resort. However, that is an estuary resort, shown by the wide expanse of glorious mud. The nearest good, sandy, seaside beach is Clacton-on-Sea, 63 miles by train.
Towns and cities in the West Midlands conurbation are likely to be furthest from the sea. Though Birmingham is only about 40 miles from tidewater (at Gloucester), the nearest resort is at least twice as far.
Residents of my hometown of Kington, Herefordshire, considered their nearest resort to be Aberystwyth, 60 miles away. This did not stop them contributing generously to lifeboat appeals, and supporting two fried fish shops.
Holland's film is also closely based on fact. Leopold Socha (Robert Wieckiewicz), a sewer worker in German-occupied Lvov,
The early 1960s were a good time to be the child of British communists. For every achievement of capitalism, we were able to point to a similar triumph of the dictatorship of the proletariat. Half the globe lived under some kind of Marxist regime; the Ussr was way ahead in the space race and the Daily Worker reported successes all over the east in the sciences and the arts. But for somebody in their early teens obsessed with the idea of cool, this was one area where communism couldn't compete with the decadent west.
Yuri Gagarin, the first man in space, may have had his charms, but he really couldn't be considered hip. No matter how hard I searched I couldn't find anybody in Bulgaria,
“The most peaceful place you can be on a film set is when you put your eye to the camera.”
On Monday night at the BFI, British cinematographer Barry Ackroyd talked to Screen International Editor Mike Goodridge about his 30 years in film and TV. It’s a shame there wasn’t a full house in NFT3 and that I had to sit at an uncomfortable 45-degree angle to see the discussion. The good news was that Ackroyd’s eloquence matches his skills behind the camera and he sounded like a poet as he alluded to the “flow” of his work.
If there’s one word you probably wouldn’t use in association with Ackroyd’s recent films it’s peaceful. This is the guy who shot Ralph Fiennes’s Balkan-set Coriolanus, Kathryn Bigelow’s The Hurt Locker and United 93. Given his talent for depicting war zones,
Last week’s article spoke about Louis Malle’s films being put up and sure enough, only a few days later they finally released Black Moon to their page, showing a film that will be coming out on June 28th. I love that they’re doing that with releases that are coming out, just to give their audience the film itself and if you like it, you’ll want to grab the whole package.
It nearly comes as a shock to discover that “Sanctum” was in fact not written and directed by the technologically ambitious, proudly commercial auteur. This sophomore directorial effort from Alister Grierson (“Kokoda”) is the sort of trash entertainment that undiscerning FEARnet subscribers may appreciate. The film prides itself on being devoid of the usual knee-jerk scares in cave-bound pictures, though it’s no less formulaic or artificial than any run-of-the-mill studio product.
Blu-Ray Rating: 2.5/5.0
Viewers don’t have to be connoisseurs of clichés in order to predict every twist and turn after
There aren't many traces on the internet of the early Polish pioneers: people such as Kazimierz Prószyński and Bolesław Matuszewski who were operating at the turn of the century, turning out silent short docos called things like Ślizgawka w Łazienkach (Skating-rink in the Royal Baths). (Prószyński was also a pioneering camera inventor, developing a model called a pleograph in 1894, and a handheld effort called an aeroscope in 1909.) Nor is there any link for Anton in Warsaw for the First Time, Poland's legendary first feature film, directed by and starring Antoni Fertner in 1908.
Fertner, though, went on to a respectable career as an actor in the interwar period – you can see him as an old man in Książątko (1937, above) and Gehenna
When we first met Aki Kaurismäki, in 1989 when "Ariel" had its run as probably the first Finnish film to play theatrically in America since Jörn Donner's "Portraits of Women" (1970), we more or less fell in love. Lost in the hollow skull of the Reagan-Bush '80s, suffering the ascension of Spielberg and Ivan Reitman and Shane Black, wondering what remote atoll international art cinema had escaped to, and more or less completely ignorant of Finnish life, we had every reason to embrace this last of the red hot deadpan existentialists, whose films somehow altered the cellular structure of working class depression and turned it into cool comedy. His distinctively bittersweet dyspepsia established Kaurismäki, in a thick run of films that included "Leningrad Cowboys Go America" (1989), "The Match Factory Girl" (1990) and "La Vie de Bohème" (1992), as a new arthouse brand name, a kind of vodka-weary Bresson-meets-Tati.
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