Kanal

A great film, at first viewing people may not understand some of the cultural references. The tall blonde brave sewer-runner is not a model of Aryan Uber Womanhood but that of a strong polish woman.According to the official line of Nazi Propaganda the metaphor for the Aryan woman was of a breeder , home maker not a woman that would take a pro-active role in dragging aman half way across the canals of Warsaw. I saw the movie as less of a metaphor for hell as that of an actual hell,the hell of siege such as stalingrad. Stalingrad was not a metaphor for hell it was hell on earth. As was Warsaw in the last days of organized rebellion.As much as Das Boot style brought across a sliver of the real life incident , Kanal's style brings across the desperation of the struggle in Warsaw. The optomistic saddness can be written off as slavic melancholy, or better described as the hope and sorrow of a nation that has many times been routed from the map of europe only to resurface strong and proud.Everything was taken from them and hope itself is in question as the final reel fades to black.

In many respects this movie is sheer brilliance. For starters "Kanal" describes the entire Polish Revolt in a single instance at the eve of its termination. But this movie is much more than a parable of Revolution and struggle. "Kanal" has great characters, great settings, great scenes, and, above all, an important message to be told.

What would it be like to fight an impossible battle against a larger force and be in the real world? What would it be like to face death at every turn and still travel on knowing defeat awaited you at the next bend? "Kanal" is the answer to these questions.

This is certainly NOT a feel-good film, as it deals with the horrors of the Nazis and their crushing of the Warsaw uprising of 1944. After all, there is no way or reason to make this a nice or fun movie to view. It just isn't possible. BUT, we are treated to an intensely realistic and viscerally disturbing film showing the war in all its awfulness. The first portion of the film is set in crumbling buildings and the nobility of the cause is apparent. However, the vast majority of the film is set in the sewers (hence the title "Kanal") and the characters, over time, lose some of their nobility and just ache to survive. The film is intensely claustrophobic and the filth they move about in literally looks like raw sewage--so as the characters fight for life and, in most cases, give up hope, you find yourself being pulled into their world and their terror. A great, though intensely awful film to watch. So, it comes as no surprise that I would not recommend this film to children or people afflicted with claustrophobia.

PS--if the musician seems familiar, it's because Wladyslaw Sheybal (also known as "Vladek Sheybal") is one of the Bond Villains in the movie FROM Russia WITH LOVE.

This is an excellent movie. It tells the story of the last stages of the Warsaw Uprising against the Nazis. A small unit of Polish Resistance fighters are ordered to fall back to a central position by going through the sewers.

Most of the actions happens in the eerie confines of the sewers, which creates a very gripping atmosphere. However, the most interesting aspect of the movie is the character development. All of the characters are so different and changeable. No stereotypical characters in this movie!

Andrzej Wajda is a truly great director. He is able to make unique movies based on the character development, rather than relying on gimmicks to gain the audience's attention. In this movie you never know what is ultimately going to happen to the resistance fighters until the final scenes.

I saw this film in a film festival in Dhaka, in early sixties(Now Bangladesh, then East Pakistan). For me as a student, Sattayjit Ray's Apu trilogy was my only exposer to any kind of art film then. Visual realism was a new thing for us in Indian sub continent. Audience were so spellbound that they could smell sewage sitting in the cinema hall. I think like all great directors, Wajda had the cinematographic sense to create that environment where viewers reality could blend with creative fiction. In post war period of late forties and in early fifties like the School of Polish Posters, all creative mediums went through this fatalistic phase. It was grotesque but realistic.