Film opens with the mad rush of haphazard freedom as the concentration camps are liberated. Men are trying to grab food, change clothes, bury their tormentors they find alive. Then they are...
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Title: Landscape After Battle (1970)
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1 nomination.
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Cast
| Cast overview, first billed only: | |||
| Daniel Olbrychski | ... | Tadeusz | |
| Stanislawa Celinska | ... | Nina | |
| Aleksander Bardini | ... | Profesor | |
| Tadeusz Janczar | ... | Karol | |
| Zygmunt Malanowicz | ... | ksiadz Redaktor | |
| Mieczyslaw Stoor | ... | Chorazy | |
| Leszek Drogosz | ... | Tolek | |
| Stefan Friedmann | ... | Cygan | |
| Jerzy Oblamski | ... | Wiezien | |
| Jerzy Zelnik | ... | Komendant amerykanski | |
| Malgorzata Braunek | ... | Niemka na rowerze | |
| Anna German | ... | Amerykanka | |
| Agnieszka Perepeczko | ... | kolezanka Niny (as Agnieszka Fitkau) | |
 |
Alina Szpak | ... | Nemka w koszarach (as Alina Szpakówna) |
| Józef Pieracki | ... | Kucharz | |
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Film opens with the mad rush of haphazard freedom as the concentration camps are liberated. Men are trying to grab food, change clothes, bury their tormentors they find alive. Then they are herded into other camps as the Allies try to devise policy to control the situation. A young poet who cannot quite find himself in this new situation, meets a headstrong Jewish young girl who wants him to run off with her, to the West. He cannot cope with her growing demands for affection, while still harboring the hatred for the Germans and disdain for his fellow men who quickly revert to petty enmities. Written by Polish Cinema Database <http://info.fuw.edu.pl/Filmy/>
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Country:
PolandRelease Date:
8 September 1970 (Poland) See more »Also Known As:
Landscape After Battle See more »Filming Locations:
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In Landscape after the Battle, Andrzej Wajda in the second era of his filmmaking career, depicts emotional and psychological confusion in a former Nazi-prison in Poland, freed immediately after the WWII.
A hand-held camera explores a lot of extreme close-ups and vivid colors. The end credit as graffiti on flanks of freight train cars symbolically concludes the film. The soundtrack is great, except Vivaldi, which sounds tacky in pop-art fashion, in the opening sequence.