martedì 5 febbraio 2013

Eroica - Andrzej Munk

autore di quel film unico e terribile che è Pasazerka (La-passeggera), qui Munk racconta due facce della Polonia di fine guerra, nel primo episodio i nazisti sono alla fine e si cercano armi per la liberazione definitiva, nel secondo i prigionieri polacchi di un campo di concentramento vivono nell’attesa di una liberazione che non arriva o di una fuga che mai si concretizza, o finisce nel dramma.
il primo segmento ha molto di scherzoso e leggero, pur nella tragicità di quei giorni, qualcuno anche ride, il secondo episodio è davvero tragico, senza speranza.
da vedere per ricordare e non dimenticare, Munk è un grande regista - Ismaele

Munk understands the dark side of human nature and presents a sly satire on heroism. He debunks the standard image of the hero as an idealist and self-sacrificing man. Instead he reveals that in the struggle for freedom it takes all kinds to fight for nationalism and self-determination. It's the work of a deep thinker sardonically reflecting on the insanity of war and the human condition.

The characters here are so brilliantly defined, so complicated and empathetic, that Ostinato lugubre's only real downfall is how little time we get to spend with them. Still, it's great while it lasts, as Munk expertly juggles the bleak realism of his scenario with a vein of pitch-black comedy, never better exemplified than in the bitterly ironic ending, a much gentler and affecting consideration of the 'heroism-is-futile' theme in Scherzo alla polacca. Honestly, it's very hard to review Eroica without the ability to properly contextualize its tales, and I'm sure some of Munk's broader political points would resonate more with a Polish audience. But those like myself, uneducated in the country's history, will still find a lot to love in this bold, consistently funny symphony. I just wish it was longer.

In both segments of Eroica, the Polish attitude towards the inevitable Russian advance is cool, a bit of irony transposed from the Poland of 1944 to the Poland of 1957 (the year of the film’s release). The Red army may have “liberated” the country from the Nazis, but they would immediately impose their own totalitarian order on the besieged and dispirited country. The film is a powerful assertion of identity in the face of cruel happenstance. In a Communist state, controversial or subversive ideas must be masked when presented as art. Eroica presents a picture of a bifurcated country, ostensibly cowed and obeisant to the pressures of Soviet domination, but still seething with recrimination and indignation.

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