Ashes And Diamonds by Wajda. Analysis of religious symbols PDF

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Brief Analysis of how Wajda's film "ashes and diamonds" reflects current polish culture and it's history, with emphasis on religious symbolism...

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Introduction to Polish Literature and Culture

Symbolism in “Ashes and Diamonds” as a reflection of Polish culture and history

The struggle between destiny and desire is at the forefront of Andrzej Wajda’s masterpiece “Ashes and Diamonds”, a movie that defined a whole generation and symbolically exposed the struggles of men and women in a post World War Two Poland. Wajda, an Oscar winning movie director, is regarded as the most influential filmmakers in Polish history. The staring cast, after the success of the movie, especially Zbigniew Cybulski as his character Maciek, became a symbol of the rebellion of the young generation. With the focus on Polish history and culture, this essay will explore “Ashes and Diamonds’” relevance in those terms, with emphasis on religion.

It is essential for the integrity of this essay to discuss the original text this movie is based on in order to fully comprehend – “Ashes and Diamonds” by Jerzy Andrzejewski. Published shortly after the War in 1948, the narrative follows closely the protagonist Maciek Chełmicki’s mission to kill Konrad Szczuka, the Communist Polish Workers’ Party secretary, and a representative of the Soviet Union in Poland. During World War II Andrzejewski was involved in efforts to aid the Jewish refugees, which is reflected in his novels especially “Holy Week”. However, at the time of writing “Ashes and Diamonds” he took a very favourable approach towards the communist actions in Poland, it is even said to have “directly supported the post war Communist system in Poland”. For instance, in the original book there is no direct mention of the role the soviet army played in the overtaking of power in Poland and the reluctance of Poles for that to happen. These moral compromises would have been motivated by the fact that after the Second World War, Poland was under the direct

control of the Soviet Union and openly criticizing them in any way could be punishable. Just 12 years later Wajda adapted the story into a screenplay, subtly modifying the narrative to fit his strong sympathies with the Polish independence underground, consequently devoting majority of the plot to the character Chełmicki.

From the opening scene the viewer is introduced to a powerful motif of religion, which is riddled throughout the motion picture. Poland’s culture is heavily influenced by the Christian faith, since 966 when Prince Mieszko I was christened, symbolically making the country Christian too. In the contemporary world, Poland still has a reputation of a deeply religious country. According to a study in 2015, 93% of the population identifies as Roman Catholic. Consequently, signs of religious devotion in artistic expression, especially connected to such turbulent times as war is expected. In the initial picture, before even dialogue begins, viewers are presented a quaint, closed chapel in the country. The contrast between that quiet location and the casual bearing of a weapon, as Maciej and Andrzej attempt to kill Szczuka, and fail, sets the tone for the rest of the movie. As the action progresses, the spectator observes the struggle between fait and want, patriotism and love, duty and craving. This can be interpreted as the anxiety one experiences, when a prominent stage of life ends, but its consequences keep coming back to haunt them. Specifically, the character of Maciek displays this struggle as he’s new found relationship with Krystyna highlights the clash between a soldiers duty and his own conscience. Later, the theme of Christianity is in the centre; literally as a figure of Christ is hanging upside down from a cross, and symbolically as Maciek and Krystyna discuss “rebirth” or even “resurrection”. Further, Maciek is calling upon God, whether “in vain” or not, suggests a connection with the spiritual, which even non-practicing Christians in Poland relate to. A sentiment inevitably develops in the unconscious mind of a person.

Although this movie concentrates specifically on Polish history and culture it proved to transcend into the minds of people of different nationalities proving that an experience of one country is not limited to them. In an interview Andrzej Wajda said “Do they know where, who, with whom, against whom? It turned out that it didn't matter in the slightest because these scenes said something so powerful.”

Bibliography -

Coates P. “Forms of the Polish Intellectual's Self-Criticism: Revisiting Ashes and Diamonds with Andrzejewski and Wajda” (1996) Lis M. “Wajda I Krzyż” (2018)...