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A GATURDAY DATE 3
with GERALD PRATLEY
The following is a reprint of a CBC radio broadcast on the Saturday Date show. The Editor wishes to express his thanks to Mr. Gerald Pratley for his kind permission to use it in this issue. K.G.
Twelve years ago or more Polish films began showing in Toronto, following the long void brought about by the war, With their cities ruined, their economy at a standstill, and finding themselves under the rigid communism of the Stalin regime, the Poles nevertheless gave their full attention to the re-establishment of their film studios.
One of the first post-war Polish movies to be shown here was Alexander Ford's imaginative study of Chopin entitled "The Young Chopin”, The latest was Mr. Ford’s intensely nationalistic "Teutonic Knights", the first Polish wide-screen color epic.
During the time between these two films, the Polish cinema has become the talk of the western world. Its films have fallen roughly into two groups: war stories showing German atrocities, and sophisticated and critical comedy—dramas that make western observers wonder how they can be made in a Communist society.
We have been fairly lucky in Toronto in being able to follow the development of post-war Polish cinema, which we have not been able to do with Czech, Hungarian or Yugoslavian movies.
There were: "The Last Stop", "Border Street", "The Treasure” and "Five Boys from Barska Street", The change became noticeable with "The Last Day of Summer", "The Eighth Day of the Week", "Eva Wants to Sleep" and Wajda*s celebrated "Ashes and Diamonds". At the festivais and film socie.ies we saw "Kanal, "A Generation", "See You Tomorrow", ‘Answer to Violence" and "The White Bear",
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