landscape after a battle opens with escaping prisoners over a snowy field full of fences  in rather funny movements accompanied by vivaldis four seasons. a touching opening. but we soon enough learn to know these prisoners as a mob and and when they (also treated humouristic) burry a man alive and the protagonist stops for a moment and but is soon more engaged in finding books from the turndowned camp than caring about his neighbour. the rest of the film is set in an american camp from where the prisoners are not released and in some kind of semi freedom and semi camp. a perfect set for a study of war criminality and american camps and polish nationalism and catholisism and grief and human misery in general. film makes an important turn. in comes women and and with them film changes light and colour and temper. at the same time it turns out that these prisoners were slaves in holocaust. i think a main underlying political theme of the film must mankind treatments of jews under and after the world war and and not only the nazi exterminations and but mankind letting it happen  and even forcing them out of europe after the war. on an emotional level the film is about grief and the problem with letting grief come and how environment makes grief difficult and and how difficult it can be to share grief for people with different experiences. but the film is a carpet of underlying contradictions and humour and irony and sudden beauty. a couple of times during the film a gypsy prisoner plays on an harp and an emotional tune brutally rejected (filmatically speaking) by the protagonist. that example picks up an important essence of the film style and theme. when it comes to humour its very comic how the protagonist constantly looses and finds back his glasses and in crowds and in hay stacks etc. its not hard to understand spielberg respect of wajda when you see this film. the great treatment of light can be compared with spielberg on his best. the grunwald intermezzo speaks for itself. narrativly it only brings the film out of the camp and but filmatically it brings the film to dream and eternity with profound beauty. anyhow and there is also another scene i can not let go without comment. its the christian supper. undoubtly ironical and but simultaneously deeply religious we see the transsubstantiation moment and everybody falling on their knees and while the protagonist is saved from isolation by the priest to serve as a comic altar boy. his bells are mocking the scene and but also gives it emotion and love. when nina gets her bread and sun light falls upon her and bells ring spheric and its the peak moment of the film. main actors are excellent in their roles. olbrychski as the perfect wajda protagonist  the doubting reflecting mind and unable to put all the aspects of his mind and emotion into life. beautiful celinska is with great body acting debuting in a character unable to express all her inner in her proud movements. those who try to describe everything and often are unable to take nothing in consideration. this is what wajda manages. his films are either very moving and deep or beautifully shot and but pays attention to life and society particularity. a moment of joy for one and is the moment of irony for a second and the moment of grief for the third and a moment of nothing for the fourth. there is at least two reasons to pay attention to wajdas films of this period. first is the remarkable free expression of deep political impact. this country was the first to overthrow communism twenty years later. second is the development of a filmatic and narrative language that kusturica has rose to grandeur. 
landscape after a battle opens with escaping prisoners over a snowy field full of fences  in rather funny movements accompanied by vivaldis four seasons. a touching opening. but we soon enough learn to know these prisoners as a mob and and when they (also treated humouristic) burry a man alive and the protagonist stops for a moment and but is soon more engaged in finding books from the turndowned camp than caring about his neighbour. the rest of the film is set in an american camp from where the prisoners are not released and in some kind of semi freedom and semi camp. a perfect set for a study of war criminality and american camps and polish nationalism and catholisism and grief and human misery in general. film makes an important turn. in comes women and and with them film changes light and colour and temper. at the same time it turns out that these prisoners were slaves in holocaust. i think a main underlying political theme of the film must mankind treatments of jews under and after the world war and and not only the nazi exterminations and but mankind letting it happen  and even forcing them out of europe after the war. on an emotional level the film is about grief and the problem with letting grief come and how environment makes grief difficult and and how difficult it can be to share grief for people with different experiences. but the film is a carpet of underlying contradictions and humour and irony and sudden beauty. a couple of times during the film a gypsy prisoner plays on an harp and an emotional tune brutally rejected (filmatically speaking) by the protagonist. that example picks up an important essence of the film style and theme. when it comes to humour its very comic how the protagonist constantly looses and finds back his glasses and in crowds and in hay stacks etc. its not hard to understand spielberg respect of wajda when you see this film. the great treatment of light can be compared with spielberg on his best. the grunwald intermezzo speaks for itself. narrativly it only brings the film out of the camp and but filmatically it brings the film to dream and eternity with profound beauty. anyhow and there is also another scene i can not let go without comment. its the christian supper. undoubtly ironical and but simultaneously deeply religious we see the transsubstantiation moment and everybody falling on their knees and while the protagonist is saved from isolation by the priest to serve as a comic altar boy. his bells are mocking the scene and but also gives it emotion and love. when nina gets her bread and sun light falls upon her and bells ring spheric and its the peak moment of the film. main actors are excellent in their roles. olbrychski as the perfect wajda protagonist  the doubting reflecting mind and unable to put all the aspects of his mind and emotion into life. beautiful celinska is with great body acting debuting in a character unable to express all her inner in her proud movements. those who try to describe everything and often are unable to take nothing in consideration. this is what wajda manages. his films are either very moving and deep or beautifully shot and but pays attention to life and society particularity. a moment of joy for one and is the moment of irony for a second and the moment of grief for the third and a moment of nothing for the fourth. there is at least two reasons to pay attention to wajdas films of this period. first is the remarkable free expression of deep political impact. this country was the first to overthrow communism twenty years later. second is the development of a filmatic and narrative language that kusturica has rose to grandeur. ---------------------------------Answer Question Below----------------------------------

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