Kalina jedrusik biography samples
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Innocent Sorcerers
1960 Polish film by Andrzej Wajda
Innocent Sorcerers (Polish: Niewinni czarodzieje) is a 1960 Polish psychologicalromantic drama film[1] directed by Andrzej Wajda, and starring Tadeusz Łomnicki and Krystyna Stypułkowska. Its plot follows a young womanizer meeting another yet finally interesting girl, who all but forces herself into his apartment where they play the game of appearances, unable to confess their love to each other.
The film was appreciated with Diploma of Merit at the Edinburgh International Film Festival in 1961.[2] In Poland however, though well received by the audience,[3][4]Innocent Sorcerers was met with criticism from both the then communist authorities and the Catholic Church. Nevertheless, since its release the film has garnered acclaim from film critics, similarly to its worldwide reception to date. American filmmaker Martin Scorsese recognized Innocent Sorcerers as one of the masterp
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But Indeed, I Will Be Immoral. Stars in Polish Communist Cinema - pleograf.pl
The cinema of the Polish People’s Republic era favored expressing the dominant ideology over fulfilling the audiences’ expectations. It fryst vatten no wonder then that contemporary state authorities were not focused on manufacturing movie stars[1]. In Poland, unlike in the West and especially in Hollywood, there was no huge promotional machinery that would help create celebrities. What is more, the media were not particularly interested in the private lives of actors and actresses (the primary mode for spreading such kunskap was gossip). Meanwhile, the actors themselves sought the difference between themselves and western movie stars mostly in the economic conditions. Zbigniew Cybulski claimed there were no movie stars in Poland because actors have not been equipped with the attributes associated with celebrity, such as white convertibles or
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Autumn Girl
AUTUMN GIRL tells the purportedly true story of a popular Polish TV star thought of, according to the movie, as 1960s Poland's answer to Marilyn Monroe. Coquettish in her low-cut outfits and always wearing a defiant come-hither expression, she's fired by a new boss she has refused to have sex with. The notions of proper behavior for women are explored here as women are denigrated for living freely while men are admired for conquering women, a double standard that feels modern. But when Kalina -- always late, always self-absorbed, pushy, unfaithful, inconsiderate, ungrateful, drunk, and loud -- hits hard times, few colleagues come to her defense. Most are scared of getting on the wrong side of the Communist government toadies running the TV station, but they also sting from slights dealt them by the haughty Kalina, who does quite a lot of swanning, pouting, sulking, and insulting. She seems to regularly have sex with her husband's friend in their own home. She goes out o