This is the last film in a trilogy made up of With Fire and Sword, The Deluge and Colonel Wolodyjovski, based on the novels of the same name by Henryk Sienkiewicz published between 1884 and 1887, which are historically located in the second half 17th century, as part of the war between Poles and Turks.
Michal Wolodyjowski is thus a fictional national hero, partially inspired by a historical character, a Polish nobleman from the Korczak clan, called Jerzy Wolodyjowski.
This film adaptation of the third volume of the trilogy is a super production, reminiscent of the great historical productions of the 50s, produced by Hollywood, but also by the Soviets and even the Italians, these with smaller budget versions, intended only to take advantage of the fashion of historical films.
As in all these productions, historical accuracy is scarce, compensated by the grandeur of the sets, the multitude of extras, Technicolor (or its Soviet and Italian versions) and CinemaScope, that is, the panoramic screen.
The plot is romanticized and focused on the romantic plot rather than the political-military one, the color and wardrobe are excessive, taking away the credibility of the reenactment (as if someone were going to war in a ball gown at court). There is, however, an attempt at rigor in the weaponry used, in some real scenarios and in battle techniques, although sometimes giving in to the temptation to use everything at the same time, without logic, to increase the spectacularity of the battle scenes.
I cannot resist citing an absurd example, as it is clearly ideological. The nobleman who headed the city about to be besieged, in the face of the imminent Turkish invasion, insists on collective leadership, from the council of nobles, instead of appointing a general to head the defense. A collectivist anachronism introduced in a plot that takes place in the 17th century.
The pomp with which the Turks advance against the castle walls, to the beat of large drums, reminiscent of those of Roman galleys, carrying bunches of straw, which the besieged will purposely set on fire, causing the besiegers to flee, is also ridiculous.
Today it is essentially a curiosity for anyone interested in the history of epic cinema, especially because it is an example from communist Poland, and therefore little known in the West.
