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Andrzej Wajda: Paintings
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Three years later, at the 2000 Academy Awards, Wajda was presented with an honorary Oscar for his numerous contributions to cinema; he subsequently donated the award to Kraków's Jagiellonian University. In February 2006, Wajda received an honorary Golden Bear for lifetime achievement at the Berlin International Film Festival.
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Janina Falkowska, among other critics, has argued that Agnieszka’s successes against the régime indicate that Wajda is manufacturing her as a “contemporary heroine of the solidarity opposition”. However, Agnieszka functions not just as a representational character, which is undoubtedly championed in opposition to the régime, but ... as a physical figure, in which her body expresses the material forces and dynamism repressed by the very process of fixing iconicity. Agnieszka’s isolation within the frame and use of the wide-angle lens, which Falkowska argues makes her appear “enormous and powerful” (34), in fact has a distorting effect, inducing a separation of her figure from the sort of idealised and proportional human character which features in images of heroism, Soviet or otherwise. As Gilles Deleuze notes, such an isolation of the figure need not constitute a rendering of the character as icon, but can instead function as a sort of counter-trajectory to this caged immobility, rendering sensible an exploration of the figure within an “operative field” of dynamism and sensation. (35) Within this field, the figure brings together a set of bodily contortions and gestures which function as a force, “as an intensity of ‘feeling’ which resonates within the mise en scène as a rhythmical movement”. Agnieszka’s gestures radiate an irrepressible energy, comically manifested in her ravenous hunger.
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Perhaps the biggest area explored by Wajda is the realm of conviction. It is something that the modern mind rarely thinks about. Even after the fateful events of 9/11, people are still fairly passive about their desire to defend. Instead of ardor, there is a kind of acknowledged atrophy. They recognize how reluctant they are to stand up and be counted (or sacrificed), but at least feel they can rationalize their own resistance. In each of the three films, Wajda's characters face a similar crisis of conscious.
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Wajda's theatre debut took place in 1959 with the staging of KAPELUSZ PELEN DESZCZU / A HATFUL OF RAIN by Michael Vincente Gazzo at the Gdynia Drama Theatre. In 1963 Wajda started to direct at the Cracow's Stary Teatr, a relationship that started with Stanislaw Wyspianski's WESELE / THE WEDDING and was to continue for many years to come. The 1960s ... saw Wajda direct at Warsaw's Ateneum Theatre and at a number of theatres abroad.
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Andrzej Wajda’s filmmaking trajectory is a great example of, for most time, an ability to attune his films to the changing range of frequencies accepted and expected by his audiences. It is difficult to speak of him as just an auteur, but rather an authorial chameleon, capable of simultaneously adjusting to and taking the leadership of the most powerful trends of a given moment.
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