As WWII and the German occupation ends, the Polish resistance and the Russian forces turn on each other in an attempt to take over leadership in Communist Poland.
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Title: Ashes and Diamonds (1958)
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Cast
| Cast overview, first billed only: | |||
| Zbigniew Cybulski | ... | Maciek Chelmicki | |
| Ewa Krzyzewska | ... | Krystyna | |
| Waclaw Zastrzezynski | ... | Szczuka | |
| Adam Pawlikowski | ... | Andrzej | |
| Bogumil Kobiela | ... | Drewnowski | |
| Jan Ciecierski | ... | Portier | |
| Stanislaw Milski | ... | Pieniazek | |
| Artur Mlodnicki | ... | Kotowicz | |
| Halina Kwiatkowska | ... | Staniewiczowa | |
| Ignacy Machowski | ... | Waga | |
| Zbigniew Skowronski | ... | Slomka | |
| Barbara Krafftówna | ... | Stefka (as Barbara Kraftówna) | |
| Aleksander Sewruk | ... | Swiecki | |
| Zofia Czerwinska | ... | Barmaid Lili (as Z. Czerwinska) | |
| Wiktor Grotowicz | ... | Franek Pawlicki (as W. Grotowicz) | |
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Plot Summary
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Storyline
Maciek, a young Resistance fighter, is ordered to kill Szczuka, a Communist district leader, on the last day of World War II. Though killing has been easy for him in the past, Szczuka was a fellow soldier, and Maciek must decide whether to follow his orders. Written by Kevin Dorner <mrkevvy@pathcom.com>
Plot Keywords:
resistance movement | 1940s | world war two | wrong person assassinated | warsaw poland |Taglines:
Touched with the fire and rebellion of a new generation of Polish film makers See more »Parents Guide:
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See full technical specs »
Details
Country:
PolandLanguage:
PolishRelease Date:
29 May 1961 (USA) See more »Also Known As:
Ashes and Diamonds See more »Company Credits
Show more on
IMDbPro »
Technical Specs
Runtime:
| (original: 108')Sound Mix:
MonoColor:
Black and WhiteAspect Ratio:
1.66 : 1
Edit
Maciek Chelmicki: ...Or will the ashes hold the glory of a starlike diamond... /The Morning Star of everlasting triumph.
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[Performed by orchestra for celebratory war's end banquet. Name of performers not listed.]
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Did You Know?
Trivia
It is the favorite film of acclaimed director, Francis Ford Coppola. See more »Goofs
Glasses of vodka are set alight which burn for an unnaturally long length of time and with a bigger flame than expected, suggesting a purer fuel was used in the film, such as petrol. Moreover, when the final flame dies (c.41 minutes) no liquid remains in the glass. Only the alcohol content is flammable in any glass of spirit and a residue of water would be left behind with even the very strongest of Polish vodkas. See more »Quotes
Krystyna: So often, are you as a blazing torch with flames/ of burning rags falling about you flaming, /you know not if flames bring freedom or death. /Consuming all that you must cherish /if ashes only will be left, and want Chaos and tempest...Maciek Chelmicki: ...Or will the ashes hold the glory of a starlike diamond... /The Morning Star of everlasting triumph.
See more »
Soundtracks
Polonaise in A-flat major, Op. 53[Performed by orchestra for celebratory war's end banquet. Name of performers not listed.]
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Surely the most mature of the trilogy; it's certainly the most elliptical and stylistically audacious. At the start, Cybulski is a laidback, coldly cynical assassin who lolls on his back in a field waiting to carry out his latest hit; suffering a crisis of confidence in light of his awakening love for a woman, he flirts with desertion before resigning himself to the demands of his position. His personal journey speaks eloquently to the national trauma, and he's just the most prominent in a complex collection of transition figures, caught on the official last night of the war, now looking forward but not yet able to escape the ravages of war and the attendant moral and psychological confusion, not yet free of potential victimhood (like the mayor's assistant who on learning of his boss' promotion drinks excessively in celebration of his own presumed advancement, but in his disruptive drunkenness kills off what future he had). The ending, intercutting a personal tragedy with the dancers doing the elegant polannaise in the streaming light of dawn, like disembodied Felliniesque figures, perfectly encapsulates the film's mix of toughness and allusiveness.