Kanał
1957, Poland
Director: Andrzej Wajda
Screenplay: Jerzy Stefan Stawinski
Story: Jerzy Stefan Stawinski
Notes: Won Special Jury Prize at 1957 Cannes
The second of Wajda’s war trilogy (and the only one offered by Netflix) is a likable introduction to the noted director, at least in the sense that this is a well-done film. “Likable” in the sense that I walked away feeling great about life? Well, not so much. Kanał is a story in two parts; the first sets up the desperation of the Polish Resistance on an intellectual, sort of plot point, level, while the second part (taking place almost entirely underground) brings the desperation to life. Though the characters share roughly equal screen time, the thematic centerpiece is platoon leader Zadra’s struggle with his responsibility to his men, on which note the movie closes.
Style: 8
This is a well-directed film. The first half has some interesting scenes as the Resistance squares off with a Goliath tank; the distant shots dehumanize the enemy and its overwhelming force. The second half is a foray into negative space, where we only catch glimpses of actions and sunlight is an aperture to another world. Though I could not always follow the sewer scenes, the darkness provides an unusual and effective storytelling vehicle.
Substance: 7
This movie does a very good job of reconciling the horrible odds the Resistance faced with the humanity of its soldiers. Though everyone is resigned to their fate to varying degrees, life goes on, and the screenplay captures a realistic balance of nonchalance and dread. The early scenes between lovers Stokrotka (Daisy) and Corporal Korab are a poignant setup to what follows.
Overall: 7
The emotional impact of World War II films is surely inversely proportional to the number you’ve seen; it’s not exactly shocking to learn about some new bit of suffering propagated by the march of Hitler’s panzers. But Kanał, besides being a relatively early entry into the genre, has the virtue of being an interesting film unto itself, most notably through the use of darkness that pervades the second half. Without establishing a significant attachment to the characters, however, the emotional impact of Kanał is not quite as much as other films I’ve seen.
