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Пепел и алмаз (1958 )
(1941) – and Gregg Toland ‘s cinematography in particular – was a huge influence on Andrzej Wajda at the time. Like Toland, the first thing the film’s cinematographer Jerzy Wójcik did was convince production designer Roman Mann to include ceilings in all the sets. See more
In the scene where Maciek is running away from Drewnowski and then the Russian soldiers, a train above them passes by. In one shot it is going to the left of the screen. Then in the next shot it is going to the right, then to the left again. See more
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.
(Red Poppies) (uncredited)
Music by Alfred Schütz and lyrics by Feliks Konarski
Performed by Grazyna Staniszewska
Frequently Asked Questions
The post-war years were a difficult time for much of Eastern Europe, and ended with that region being plunged into dictatorship; so in many ways, it s surprising to see a film about that era (made under the communists) whose heroes are a pair of anti-communist assassins. One might more accurately say anti-heroes , but the truth is, Andrzej Wajda s film is a critically sympathetic account of the motives on those on all sides in the conflict. Also marking this film out as modern is the dry script and mordant humour; while a big improvement over Wajda s previous movie, Kanal (which had a horrible score) is the clever use of background music as orchestration. Some things do remind you that this film is (by now) almost fifty years old: not all the acting reaches contemporary standards. Still, it s as good a movie as was made in the 1950s, and all the more telling for its relative proximity to the events it displays.
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