Few countries endured the catastrophic trials of the 20th century as profoundly as Poland. Subjected to wars, genocides, and occupations, the Polish experience was marked by profound suffering and resilience. This tumultuous history has served as a powerful source of inspiration for Polish filmmakers, resulting in some of the most memorable works in the annals of cinema. Among these, Ashes and Diamonds, directed by Andrzej Wajda in 1958, stands out as a seminal piece of Polish film, often hailed as the best ever made.
The film is adapted from the 1948 novel by Jerzy Andrzejewski, who also wrote the screenplay. Set in the immediate aftermath of the Second World War in a provincial Polish town, the narrative unfolds against a backdrop of political upheaval. Although Nazi Germany has just surrendered, another conflict brews as remnants of the former underground resistance clash with the newly established Communist regime following the arrival of the Red Army. The story follows two resistance members, Andrzej (played by Adam Pawlikowski) and Maciek Chełmicki (played by Zbigniew Cybulski), who initially attempt to assassinate a Party official, Szczuka (played by Wacław Zastrzeżyński). In a tragic twist, they mistakenly kill two cement factory workers instead of their intended target. This misstep leads them to a hotel where they plan to carry out the assassination during a banquet attended by local officials in honour of nation’s victory. As Maciek becomes romantically involved with the barmaid Krystyna (played by Ewa Krzyżewska), he grapples with his loyalty to his comrades and his burgeoning love, prompting him to question the morality of his mission.
Ashes and Diamonds marks the third feature film in Wajda’s career and serves as the concluding chapter of his War Trilogy, which includes A Generation (1955) and Sewer (1956). This trilogy is dedicated to exploring the experiences of the Polish underground resistance during the Second World War, reflecting Wajda's own experiences as a teenager involved in the war as a member of the Home Army. The film's significance is further underscored by the political climate of the time; the death of Stalin in 1953 heralded a period of relative liberalisation in Poland, allowing for a departure from the rigid Socialist Realist dogma that had stifled artistic expression. This newfound creative freedom enabled filmmakers like Wajda and writers like Andrzejewski to explore more nuanced narratives, even if it meant challenging the foundational myths of the post-war regime.
Andrzejewski's original novel adhered to the content parameters of the Stalinist regime, portraying Party officials as heroic figures while depicting anti-Communist insurgents as villains. However, as a screenwriter, Andrzejewski adopted a more complex and objective perspective. The character of Maciek emerges as the protagonist, his actions framed not as those of a cold-blooded terrorist but as responses to a chaotic environment, misguided loyalty to fallen friends, and the psychological scars of war. This portrayal resonates with the youthful rebellion against authority, which, in this context, is embodied by the new Communist regime.
Wajda's direction imbues Maciek with a symbolic weight, representing the struggles of his generation to reconcile with the new socio-political order. Drawing inspiration from Western cultural trends, particularly the Hollywood dramas starring emerging countercultural icon James Dean, Wajda cast the relatively unknown Zbigniew Cybulski in the role of Maciek. This casting decision resulted in one of the most iconic performances in Polish cinema history. Cybulski's interpretation of Maciek, while influenced by Dean’s style, also incorporated a personal touch that rendered the character relatable and compelling. Wajda's deliberate choice to dress Maciek in anachronistic 1950s fashion, including jeans and dark sunglasses—neatly explained as consequences of months-long hiding in sewers following Warsaw Uprising and symbolic of his character's disconnection from the world—further solidified Cybulski's status as a cultural icon.
Despite the film's nuanced portrayal of its characters, Ashes and Diamonds does not shy away from critiquing the regime in power. Local officials are depicted as petty, vain, and cowardly, suggesting that such traits are inherent to human nature rather than a byproduct of Communist ideology. This is exemplified in the character of Drenowsky (Bogumił Kobiela), a mayor’s aide who shifts his allegiance from the anti-Communist insurgents to the new government upon receiving a promotion. This portrayal underscores the opportunism that often drives political loyalty, a theme that resonates with the film's broader commentary on the nature of power and resistance.
Conversely, Wajda and Andrzejewski express a more critical view of the anti-Communist resistance, portraying its leaders as members of the aristocracy and pre-war elite. Their noble rhetoric about patriotic duty is undermined by the suggestion that their true motivation lies in restoring their former privileges within Polish society. The film presents the cause of the anti-Communist insurgents as ultimately futile, leading only to further bloodshed and suffering for the Polish people. This unromantic perspective has led to Ashes and Diamonds being condemned in right-wing nationalist circles in post-Communist Poland, where the discourse surrounding World War II has often been dominated by narratives that glorify the resistance.
One of the film's most intriguing aspects, often overlooked by casual viewers, is its portrayal of Szczuka. While he is not the protagonist, Szczuka is depicted as a charismatic and competent leader, serving as a distant reflection of Maciek. A poignant scene features Szczuka reminiscing about fallen comrades, paralleling Maciek's own reflections with Andrzej. The film suggests that the greatest tragedy of the 20th century lies not merely in foreign occupation but in the tragic divisions within Poland itself. Wajda and Andrzejewski implicitly advocate for national reconciliation as the pathway to a better future for the country.
Wajda's directorial prowess is evident throughout Ashes and Diamonds. The film is meticulously paced, drawing viewers into its compelling narrative while allowing for the development of side characters that provide ironic commentary on the main events. Wajda's use of symbolism is particularly striking; for instance, the upside-down crucifix in a ruined church serves as a metaphor for the chaotic state of Polish society, while the juxtaposition of assassination and celebratory fireworks underscores the tragic absurdity of the circumstances.
Moreover, Ashes and Diamonds is notable for its pioneering use of widescreen format in Polish cinema. The film's exceptional black-and-white cinematography, crafted by Jerzy Wójcik, creates a moody atmosphere that has been described as "noirish" by Western critics. This visual style allows Wajda to explore themes of eroticism and violence that were often censored in Hollywood due to the stringent MPAA Production Code. The film features graphic depictions of violence, including the use of squibs that would later become standard in Western action films. The film opens and closes with acts of violence, both portrayed as tragic and needless.
Originally slated for the Cannes Film Festival, Ashes and Diamonds faced censorship from Communist authorities, who ultimately opted to showcase it at the Venice Film Festival, where it won the FIPRESCI Prize. This victory catapulted Wajda into the international spotlight, leading many viewers in the West to perceive a glimmer of hope for cinema and nations behind the Iron Curtain. Wajda continued to create significant works, solidifying his legacy as a giant of Polish cinema, though none would achieve the same level of impact as Ashes and Diamonds.
RATING: 8/10 (+++)
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