Andrzej Wajda died last year having directed some of the greatest films ever produced; Walesa: Man of Hope was the last he completed. Appropriately for his oeuvre it is historically informed: a biopic eulogising the leading force of Solidarność (Solidarity), the union that led to the downfall of the Soviet-backed government in Poland in the 1980s. It was a strange at the time to see mainstream media celebrating a trade union instead of demonising them.
Wajda’s first four films, including the famous ‘war trilogy’ (see Ashes and Diamonds), focused on the Second World War but he didn’t always deal in history – his Innocent Sorcerers tells a charming tale of ‘first love’. In my Innocent Sorcerers post I complained about the lack of availability of Wajda’s films in the UK; I particularly would like to see Landscape After Battle (Krajobraz po bitwie, Poland, 1971) again if only for its hallucinatory opening sequence. I’ll try not to bang on again about how the BBC is abnegating its Public Service responsibility by virtually ignoring film culture. Although I saw Walesa on BBC4, where’s the career retrospective and documentary on one of the great artists in cinema history!?
I really enjoyed Walesa partly because it reminded me of my introduction to Wajda’s films, Man of Marble (Czlowiek z marmuru, Poland, 1977) and its sequel – that dealt with the same events as this film – Man of Iron (Czlowiek z zelaza, Poland, 1981). It’s a sign of my age that these events, which were gripping viewing via television news at the time, are now history and no doubt part of Walesa‘s purpose is to educate young Poles about their recent past. Focusing solely on the figurehead Walesa necessarily limits the focus and it may be difficult to completely follow the story if you had no knowledge of the events of the time. However, the film brilliantly brings to life the historical moment through the fabulous performance of Robert Wieckiewicz as Walesa, an ordinary man of great strength and charisma. Wadja, however, does not neglect Walesa’s wife, Danuta (Agnieszka Grochowska), who might have been simply a domestic adjunct to the hero. In fact, the last shot of the film is of her suggesting that Walesa would not have succeeded without her support.
Come on BBC, where’re the retrospectives of Wadja’s films? Although we have more films available to us, including the more obscure, than ever a curated free-to-air presentation of cinema history is required or many people will never come across the gems of the past.