Andrzej wajda's comments

This film has always been at the top of Angie andrzej wajda's chronology. The documentary he filmed a few years ago about the ceramic industry is just a routine task. I chose this theme because those pottery pots with numb faces and stiff limbs will not cause trouble in the review of Rhodes Film Academy. Andrzej wajda does not belong to these dreary finished products. In fact, if he is regarded as a Potter, andrzej wajda is more interested in how to analyze the political climate and ideological baking. Unfortunately, all the places with strong glaze color in the film were pushed down by the authorities. Andrzej wajda said, "When I saw the last generation, I thought it was a complete failure. We try to achieve something, something that should happen. We have great hopes, but what we see on the screen is not the movie I imagined. " It should be said that in Eastern Europe in the 1950' s, the Polish authorities were quite clear about andrzej wajda's face. When Aleksander Ford handed over the task of mirror image to andrzej wajda, there was not much obstacle. In addition, this film is a gift to Poland's 50th National Day.

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According to the narrative norms of revolutionary history, this film tells the story of the younger generation growing up in the battle. Under the guidance of Secula, a factory apprentice, Stacy joined the People's Guard, an underground organization directly led by Dulong Tal, and changed from a simple youth to a conscious soldier. He liked the heroic Durotard, but before he could pour out his love, the steel rose was taken away by the Nazi police. When his comrade-in-arms died and his lover was arrested, Stacy turned to dry her tears and ushered in a new group of young soldiers. However, this tragic and high-spirited heroic narrative still does not fully meet the expectations of the political questionnaire. The censor detained the film because The Generation is an ideological film. This explanation sounds strange. /kloc-Poland, huddled under the wings of the Soviet Union in the 1950s, did not need ideological education, or did it not need very clear ideological education? This is exactly the problem.

The elements that make up the film tension come from the dual ideals of different dimensions. On the one hand, they are influenced by Italian neo-realistic films in creation, and on the other hand, they are an irresistible call for idealistic passion based on revolutionary narrative. The former makes the film focus on the bottom people in Poland during the occupation period, and determines a gentle and natural tone, while the latter constitutes the internal tense rhythm and stress emphasis of the film. However, these two tendencies are deviations and contradictions from some officially established principles.

1944, Soviet troops entered Polish territory. At the same time as the tanks arrived, the ideological stealth plane also dropped socialist realism in Krakow Square. After graduating from art school, Angie andrzej wajda was asked to imitate the Soviet style. Andrzej wajda is deeply tired and disappointed with this kind of political schema which has no aesthetic feeling and interest. In fact, this way of artistic creation requires every painter to be a genius, to predict the future weather according to the political barometer, or to install lightning rods and umbrellas for illegal buildings built in the past according to the trend of the wind and cloud. According to this standard, the painter Angie andrzej wajda, who has not started his film creation, has started to go further and further on a wrong road. After graduating from Rhodes Film Academy, andrzej wajda finally had the opportunity to express his admiration for Desika and Rossini. Generation inherits the basic position of Italian neo-realism, bringing a broken Polish territory and a group of miserable Warsaw people into focus. Such background rendering did not cause anxiety. The dislocation between neo-realism and socialist realism lies in that the former cares about "what is reality" and the latter cares about "what should reality be".

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Andrzej wajda revealed in a later interview that there were two places that caused dissatisfaction among Polish officials. One is a group of young heroes with Stacy as the core, including Gacio and Yatek, and the other is a very specific scene about Marx and the theory of surplus value. The central opinion is that Stacy and others are not revolutionaries and * * * people with clear tasks, but social exiles. Aleksander Ford's defense of supporting andrzej wajda is, "Comrades, we are all the same ideologically." It can be seen that the technical aspect has only caused misunderstanding, and the real focus of debate lies in whether the idea of the film strictly abides by the direction of the political line. According to the basis provided by Marxist classics, Stacy, Secula and Durotard are undoubtedly true Polish masters, but the praise of these masters has aroused the antipathy of other masters. Obviously, the answer to this question can only be historical, not social. During the wartime resistance movement described in the film, there were many political organizations in Poland, and organizations established in the name of Poland were established in the Soviet Union. The Soviet government is worried that these political organizations without unified leadership lack the ability because of unclear tasks, and then they are used by forces hostile to the Soviet Union. Therefore, once the hero in the film is suspected to be a straggler, an extremely sensitive political issue emerges. Of course, the people who really control the film censorship in Poland are not necessarily pro-Soviet elements. However, there is no doubt that although the film was released in 1954, which was a political gap between Stalin's death and the convening of the twelfth national congress of CPSU, the Soviet government did not relax its control over Poland. 1949 the high sensitivity aroused by the conflict in southern Jiangsu has not subsided, and then the outbreak of Poznan incident pushed this sensitivity to rage. Khrushchev, who succeeded Stalin, went to Warsaw. As soon as he got off the plane, he yelled at the Poles. "We have shed blood for this country, and now they are trying to sell it to Americans and Zionists. This can't be done. Absolutely impossible. " So it's not hard to understand why The Generation only makes its hero wear an idealistic hat or ride an old bike in a skirt, which will cause such a big trouble.

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In Althusser's view, there are more than twenty defined ideologies that have no history, but the rhetorical strategies of ideology have always been historical. Borrowing from Eagleton's point of view, the thought of Marx's German Ideology is in the field threshold of ideological bipolar significance. "On the one hand, ideology has purpose, function and actual political power; On the other hand, it seems to be just a bunch of fantasies and ideas, which have nothing to do with reality. " Therefore, this tension can also be manifested as the political power of practice realizes its purpose and function with the help of some illusion and concept that seems to have nothing to do with reality. The history of ideological rhetoric strategy has thus become a dotted line, which follows history, creates history, abides by history and embellishes history. In a very contemporary and universal understanding, ideology and power are grafted together. It is "a form of thought that is produced or distorted due to the urgent need for power" (in Eagleton's language), so it is no exaggeration to say that "ideology is a variety of discourse strategies, which will replace, recast or deceive the embarrassing reality of ruling power and spare no effort for the self-legalization of ruling power." (Politics, Philosophy and Love in History) From this point of view, although Italian neo-realism belongs to the same camp as socialist realism, it seems that they are twins who are naturally hostile to the latter. It is a shameful and angry reactionary force for the ideology in power construction. Regarding Angele andrzej wajda's admiration for De Sica and Chevaldini, Italian Deputy Secretary of State Girio Andriot once cursed in the open letter "humberto D", "This is a despicable slander against the motherland, which is ... a motherland with advanced social security". This can't help but remind people of how Mussolini rushed out of the theater angrily after watching Vikanti's "Friend or Foe" on 1942, declaring that "this is not Italy". (David Bordwell's History of World Cinema) But socialist realism will not make such a historic mistake, and it only has problems at the technical operation level at most. Unfortunately, the "generation" stumbled on this delicate joint. For Poland in the 1950 s, the authority of the political center is not orthodox Marxism, but Stalinism with a neurotic attitude. Andrzej wajda's love for Italian directors obviously affected his energy to refer to the Soviet film history. The lessons of Eisenstein and his teacher Meierkholid did not provide enough reference for andrzej wajda. The scene where Secula enlightened Stacy with Marx's surplus value theory made some leading comrades feel very uncomfortable. It is a very ambiguous question whether this call, which once inspired the proletarians all over the world to unite to break the shackles and gain the world, is suitable to resound over the Kelba Mountains again. However, it is clear that andrzej wajda still uses it as a weapon. The allergic reaction caused by this scene was that the official found that the contradiction in andrzej wajda was not directed at the evil capitalists at all, but the government that took away the surplus value. It is difficult to confirm whether the opinions here point to Stalin's economic policy, but the fact is that at the end of the war, Polish farmers were quite hesitant in the face of the road of agricultural collectivization. If this inference is not enough, then in June of 1956, the workers of Stalin Locomotive Works in Poznan launched a voluntary activity, demanding higher wages and lower taxes. Is it groundless? More than 50 people died and hundreds were injured, which obviously cannot be laughed off.

The fate of this film is accidental for andrzej wajda, but it is inevitable for politics. Although a generation has heroic romantic feelings, this is not an idealistic film. There is a deep sense of frustration and fear in the fierce fighting with high spirits. Maybe this is the real politics and the real anxiety. It can never dress up reality as utopia with exquisite lighting technology. In The Generation, the uprising that Stacy and Gacio helped took place in the Jewish community of Warsaw in 1943. After the resistance broke out in June+10 in 5438, Himmler led the SS to attack again in April 19, the day before Hitler's birthday. Twenty-eight days later, the uprising failed and more than thirteen thousand Jews died. The sewer describes the uprising that broke out in August 1944. 50,000 Warsaw resistance members continued to fight for 63 days, and nearly 20,000 soldiers and 200,000 Polish civilians were killed. On June 5th, 65438/KLOC-0, the leader of the resistance organization, Bór-Komorowski, surrendered to the German army.

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Henderson, an American film theorist, once quoted michel foucault's famous assertion in Seeker-An American Dilemma, "What matters is the age of telling myths, not the age of telling myths." Although the movie "Sewer" is neither an ancient legend of a barren tribe nor a secular myth of modern movies, and even looks more like a profound inscription on the historical truth from the opposite standpoint, this statement still holds true for the historical narrative under the invisible power monitoring. For the history revived in some form in ideology, the truth that time is one-dimensional is a complete lie. Various causal assumptions make time a pot of porridge. The rain in the first half of the year cannot determine the harvest in the second half of the year at all. Sometimes it's the opposite. Is it windy at three o'clock in the afternoon or around six o'clock in the morning? Should the sun rise on time? History has become a narrative and a word game.

On the Polish highway from 65438 to 0956, andrzej wajda started the filming plan of Sewer, and was facing the danger of driving in the opposite direction. The authorities disagreed with his ideas about the film, although the ideas reflected in the script did not contradict the official position in some places. The shooting plan for the sewer was rejected. There are no technical problems here, only principled boundaries. In other words, the key of Warsaw Uprising is not to choose a narrative strategy, but to choose any narrative strategy. Warsaw Uprising is not allowed to be mentioned, at least in Polish films of11950s .. Leonardo Baldevich, chairman of the film committee, disagreed with the filming of Sewer-there is no reference frame of historical meta-narrative, only an impressive broken bridge, which is either banned or forgotten.

This encounter is closely related to the political environment in Poland. After the war, Poles hated the control of the Soviet government. Not only did the hostility towards the Soviet Union not abate, but Polish nationals were quite disgusted with Soviet Marshal rokossovsky, then Minister of National Defense and Vice Chairman of the Council of Ministers. After the Poznan incident, the Polish United Workers' Party held its eighth plenary session, excluding rokossovsky from the political core, and Mulka was promoted to the leadership position of the first secretary. In andrzej wajda's words, "Mulka is a leftist, but at least he is from our country, not an agent sent from Moscow to Poland". This temporary excitement is actually hidden under some kind of tension. On the day of the eighth plenary session, Khrushchev assembled Soviet troops stationed in Warsaw. Although the overall climate has not changed, the shooting of sewers in andrzej wajda should be attributed to the rare local sunshine. Signs of a thaw in Polish politics gave andrzej wajda a chance to put this story written by Stephen Jersey Stawinski on the screen. Of course, when this limited edition novel is adapted into a script, it must undergo a more severe review, and then some evasions, compromises and modifications will be made.

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It is no exaggeration to say that andrzej wajda's skill in The Long Mirror in the Water is amazing. This is his second film. At the beginning of the film, with the introduction of voiceover, the camera scans all the members of the uprising team one by one at different moving speeds. However, the group image modeling method used here did not form the false relief style used in Soviet movies. This long mirror basically laid the tone of the whole movie-in the gentle and sad tone, there was a tense and urgent atmosphere.

This desolate poetry did not hinder the real effect of the film. Although Angie Coleman, the director who was going to direct the film before, thought the film was incredible, especially in the underground part, and a lot of exquisite lighting design would seriously affect the authenticity of the film, there was still a rough taste of documentary style in andrzej wajda's final work. Andrzej wajda even used real machine guns and bullets when describing the last battle before the uprising went underground. In today's digital technology, andrzej wajda's adventure is shocking and touching. In the 45th minute of the film, the troops went underground and began to describe the "sewer" part. It is true that dogma like DOGMA95 cannot be realized in such an environment, but the use of artificial light does not always destroy the elements of reality. In most scenes, andrzej wajda's lighting skills are embedded in the narrative. It may be a flashlight, or a half candle floating in a corner, or a match that someone tried to light with his nervous hand. In addition to narration, some seemingly trivial techniques actually bear important ideographic functions. In the dark and dirty sewer, there are often some subtle symbolic meanings and hints.

With the occasional faint light, you can see the filth of the uprising soldiers in the sewer. -When the film was sent to Cannes for screening, the producers were still worried about whether these environmental factors might cause the bourgeoisie's cautious charm stomach cramp. On top of this environmental reality, there is another image reality. When these soldiers entered the sewer, they actually accepted a glorious death, followed by the death of life. The soldier's will is wrapped in a greater survival instinct, and the film unfolds between survival desire and fear. Desperately, however, some people died and others were captured. After losing all his men, Captain Chadra shot and killed Sergeant Britt, turned around and entered the sewer, and there was no way out.

Interestingly, the adjective phrase "real" about Sewer has become another modifier, which is "fantastic" in America. After seeing the film in France, Hollywood producers were surprised by the "whimsy" of the Poles and invited screenwriter Stephen Jersey Stawinski to work in the United States. Truth and surprise are ironically grafted or overlapped here. Returning to the relationship between myth and history again, we will find that the relationship between them lies in the contempt and destruction of the experience world; They also keep some tough taboos that cannot be violated.

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The avoidance of this taboo constitutes a "structural blank" in Sewer, or "absence" and "silence" in Marshall's sense. A typical example of this method in film criticism is the long paper written by the editorial department of the Film Handbook, and john ford's Young Lincoln. Dai Jinhua said that the enlightenment of this article to film criticism lies in: "We will not be satisfied with what the text itself claims to express, or what it appears to express;" The approach it takes is not to close the text itself and try to find the' depth mode' in it, but to pay attention to those elements that exist as the premise of text narration but do not appear in the text. "

From this perspective, the significance of the sewer is that it liberates a little girl who dresses for anyone from the official archives. Of course, andrzej wajda's job is not to make up for the Warsaw Uprising, but to install an empty trouser leg in the political clinic in Eastern Europe in the 1950' s. That is to say, in order to successfully pass all kinds of supervision and censorship, the film must keep silent about the wound and never give up that trace of grief and indignation. Therefore, "absence" and "silence" in the film have become the key to the compiler of decoding ideology.

Andrzej wajda's view of Warsaw Uprising is that the failure of this struggle "facilitated Stalin's occupation of Poland". This understanding coincides with the views of international relations analysts. They believed that the Warsaw Uprising was a movement supported by London, which was aimed at Germany militarily and the Soviet Union politically. However, this view was banned in Poland in the 1950 s. Although Gormuka came to power, he did not have enough power to get rid of the control of the Soviet Union. Shortly after taking office, he began to tighten domestic politics, including supervising the "Gaidar" group in andrzej wajda. After 1958, Poland led by Gor Mulka returned to the Soviet model again. -Ideological admonition forced Sewer to leave some broken traces in its historical narrative, and forbear some silence in a seemingly healthy and complete text.

As we all know, in addition to Poland and Germany, political forces from London and Moscow are also important factors affecting the war situation in Eastern Europe, especially the Soviet Union, a huge neighboring country that has long forcibly grasped the key next door. The film tells the history of1940s. As long as we sort out some earlier facts, we will find that the Soviet Union is by no means a milder nightmare than Germany. Whether it was the Soviet-German non-aggression treaty and its secret supplementary protocol in the late 1930s 1968+0940, or the "Katyn Forest Incident" in which more than 20,000 prison guards were shot dead, the image of the Soviet Union cast a huge shadow on Polish people. However, in the movie "Sewer", there is no scene about the Soviet army.

In fact, when the Warsaw Uprising broke out, the Soviet Red Army had reached the Vistula River basin. In the supplementary protocol signed by the Soviet Union and Germany in the 1930 s, it was stipulated that if the political situation in Poland changed, the sphere of influence of the Soviet Union and Germany would be divided into the Nalev River, the Visva River and the Sang River. This proves that the east bank of the Vistula River was planned by the Soviet Union long ago. In the film, Daisy once mentioned the name of the river. She helped the injured Jack grope in the sewer, saw a light ahead, mistakenly thought she had found the exit, but found that the exit was just a dead end leading to the river. Where the sun shines, there are steel fences. This river is obviously the vivas River. The film takes a close-up shot of two people walking to the entrance of the cave from the perspective inside the cave, and then takes the perspective outside the cave as a close-up shot of Daisy and Jack behind the fence. At that time, Jack was just dying. Daisy said to him, "I see water and green grass." Jack closed his eyes and said, "Then let's go there!" However, the camera did not shake to the blessed land as usual. In fact, in this scene, the lens that has been switched and moved many times has never shown the other side, that is, the Soviet station that promised to help the uprising.

Another scene about Daisy is also worth pondering. She came back from the war zone through the sewer and put on clean clothes to find Jack, but Jack was jealous because of her relationship with Captain Chadra. Daisy took out the present she brought to please Jack. "Look what I brought you? Real English tea and cigarettes! " The intention of this line is obviously not to worship the elegant life of British nobles, but to subtly imply the relationship between the London government in exile and the Polish war situation. -Marshall Ray said, "Works are created for those silences". In the movie "Sewer", the silent and unspoken things, as the editor of "Movie Manual" said, have been included in everything said.

Another problem about Sewer is that when we regard this historical narrative text as history, the proposition that "history has become a narrative and a word game" will reappear. After the film was released, it won the Silver Palm Award at the Cannes Film Festival. If there are factors other than art, it is easy to think of the influence of the cold war mentality. However, the same film also won andrzej wajda the "Most Promising Young Director Award" at the Moscow Film Festival-is this related to Khrushchev's liquidation of Stalin's personality cult? Answering these questions is no longer the task of this paper. However, when we look at these facts from a historical perspective again, these different interpretations of "silence" will come again with the cage of the game-what a desperate thing.