gudaulin

Many classic westerns have long since fallen into oblivion, but Zinnemann's film can be considered a classic that rightfully belongs in the golden treasury of world cinema. This western transcends its genre boundaries and moves more into the realm of psychological drama. It is a study of human nature, fear, courage, and responsibility. A dangerous criminal is released from prison, and his comrades rejoice and expect the return of old orders, the rule of violence and intimidation. The "decent" citizens are afraid and some consider leaving. Only one inhabitant of the town is prepared to defend himself and tries to awaken a collective spirit of resistance in others. In the film, you will experience far more dialogue than panoramic shots of the wilderness or bloody shootouts. Some fans of westerns have a problem with this film precisely because of the absence of the usual genre clichés, but I consider it a remarkable example of film craftsmanship. High Noon is interesting in that it takes place in real time, and as you watch the moving hands on the clock, the tension escalates, and everything is permeated with a sense of inevitability. The direction is interesting in other ways as well. Zinnemann wanted the film to look like a classic newsreel at first glance, with grainy images and inferior lighting. Again, there are those who find this spoils their idea of a movie spectacle, but I have no hesitation in awarding it an overall impression of 85%, with the caveat that I am not a fan of westerns. Otherwise, I would give it a fifth star.

Of all the directors of Polish films of moral unrest, Krzysztof Zanussi is the most distant for me because of his distinct Catholicism in his work. I come from different ideological positions and Zanussi's starting points are unacceptable to me from two perspectives. The escaped prisoner bears no responsibility for the executions in the concentration camp and therefore does not have to feel even the slightest guilt. Collective punishments were common in Nazism, and any resistance and opposition would be immoral from such a perspective. The executioners should bear all the guilt... That Catholic sense of guilt for the original sin and a long list of "sins" that followed has always been deeply unpleasant to me. The second perspective concerns the role of Catholicism in the 30s and 40s. Many ordinary Catholics and lower clergy certainly acted bravely and according to moral principles. However, this does not change the fact that Catholicism of that time systematically supported the worst regimes (for example, Hitler called Franco a Jesuit pig because of his closest ties to the Catholic clergy) and the Vatican behaved toward Hitler more than pragmatically... As for Zanussi's film, it may be thematically strong, but the execution lagged, the screenplay needed refinement, and considering the emphasis on dialogue and camera work, it is more of a TV production. Overall impression: 45%.

Gorodok is a sympathetic trip for humor to other cultural and social realms. Like many other series of this kind, it suffers from unevenness. Some scenes are brilliant, others only average, and some simply don't work, but overall it is an above-average production, at least in the case of the first episodes of the cycle. Overall impression: 70%.

Adolf Hitler had an unhappy childhood. His despotic, pedantic father deprived him of parental love, and the experience of World War I, where he bravely defended his country and was injured in battle, shaped his transition into adulthood. Post-war chaos pushed him to the bottom of society, yet he did not give up and gradually became one of the most significant statesmen of his time due to his immense tenacity. It is characteristic of him that he directed his talents not toward business and accumulating wealth, but solely towards public service and his homeland. He had a decisive influence on the swift resolution of the devastating consequences of the economic crisis. His priority was the restoration of state authority, the suppression of crime, the elimination of speculators and parasites, and the construction of infrastructure such as highways. Undoubtedly, he restored Germany's status as a major power. He supported sports, and the Olympics in Berlin were among the most magnificent examples of state-sponsored physical education. He loved film and classical music and supported modern architecture. He became the unifier of all Germans and atoned for historical injustices against the German people. Naturally, he also made some mistakes and experienced his defeats - in that, he is no different from other historical leaders. Many criticize him for his anti-Semitism, but he was just a product of his time in that regard. Unfortunately, it was a complicated and extraordinary period in modern history. Some historians also accuse him of tragic incidents resulting from the excessive zeal of security forces and unfortunate mistakes by the German military during World War II. But does it make sense to judge past events based on today's moral standards? This is how Hitler's biography could look in the hands of the creators of this series. In recent Russian projects, it is clear how much they conform to the ideology of Russian nationalism and the fusion of imperial aspirations. However, perhaps no one has gone as far in manipulation as the creative team of Forgotten Leaders. This is an unabashed defense of Stalinism in its boldest form. The series does show some craftsmanship, but the more you know about Soviet history, the worse the episodes of the series seem. Overall impression: 20%.

If I ever decided to visit a film festival, I would expect and appreciate exactly this type of film. It's moderate, has a slower pace, believable conflicts, and realistically modeled characters. It's not manipulative but rather encourages reflection and offers great restrained acting from both main actors. It gives space to the viewer, and it doesn't impose any categorical judgments on him. For me, my overall impression is an honest 80%.