Andrzej Wajda - Wesele aka The Wedding (1973)

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Wajda, like every film director who adapts a theatre play, must have faced the problem:
how, without distorting the text could he overcome its theatrical character- its unity, its division into acts and scenes, certain conventions, which film doesn't tolerate? This task has been even more difficult in the case of The Wedding, since the heroes speak in verse; its elimination would abuse all those lines, which our contemporaries know by heart. Well, Wajda's response to the play is realism. The film could have enhanced the play, making it unbelievably colourful and so fulfilling the dreams of innumerable theatre scenographers, but it went in the opposite direction, making the reality of the drama concrete, tangible, and substantive. The wedding banquet room in Wajda's film is confined and stuffy, the vestibule is narrow, the yard - muddy and indistinct; in the stable, the Host's unfinished paintings lie haphazardly thrown next to farm equipment. And this material reality breaks through theatrical convention.
In such surroundings theatre can not go on; only life, that is film, can go on here. (...) The Wedding shows several peasants, several writers, several councillor's wives - and suddenly it turns out to be the most important thing that was written about Poland in Polish.[Krzysztof T. Toeplitz]

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Wednesday, April 28, 2010

Andrzej Wajda - Wesele aka The Wedding (1973)

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