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In these films the techniques of Polish film-making are frequently inventive, virile and tremendously compelling. But it‘*s in the movies that haven*’t been shown here that these qualities are seen at their best movies such as the late Andrzej Munk*’s "Bad Luck", about a little man who attempts much but achieves nothing between the years 1930 and 1950, and his "Eroica", an examination of futile heroism.
There is Kawalerowicz's controversial "Mother Joan of the Angels", in which a group of 17th century nuns are possessed by demons, showing the Polish gift of allegory in its most subtle form, To western audiences at Cannes it seemed a study in seduction, but to the Poles it was a revelation of political corruption.
Andre Wajda has made a remarkable film called "Samson", in which a French actor, Serge Milan, plays a Jew in the Warsaw ghetto under circumstances which suggest those in the biblical story. Wajda has now broken away from war-time themes, and followed this with a study of youth in present day Poland entitled "Innocent Sorcerers".
Another strange example of Polish experimentation in character-relationship and setting is Jan Rybkowski's "Tonight A Town Dies", shown at the second Moscew film festival, and concerning two men who escape from a concentration camp only to die in the bombing of Dresden.
To some of the other communist states, Poland is a "deviationist" country, particularly where movies are concerned. Its films show no influence of Russian technique, they discuss sex openly, and they have become adept at using comedy and dramatic symbolism to say things which cannot be mentioned openly, Some times they run into trouble, as with Ford'’s "The Eighth Day of the Week", But Ford is still active and free, and few directors would consider making movies which did not have
something to say about Polish character and environtay T. PAGE 19)