Eroica (1958 film)

Eroica (released in some territories as Heroism) is a 1958 Polish film by Andrzej Munk, and his second feature film after Man on the Tracks (1956). Eroica is composed of two separate stories, presenting satirical critiques of two aspects of the Polish character: acquisitive opportunism, and a romantic fascination for heroic martyrs.[1]

Eroica
Directed byAndrzej Munk
Written byJerzy Stefan Stawiński
StarringEdward Dziewoński
Tadeusz Łomnicki
Leon Niemczyk
CinematographyJerzy Wójcik
Music byJan Krenz
Distributed byKADR
Release date
1958
Running time
87 minutes
CountryPoland
LanguagePolish

The film’s title is an ironic reference to Ludwig van Beethoven’s Third Symphony, which the composer initially dedicated to then French head Consulate Napoleon Bonaparte. When Napoleon declared himself Emperor, Beethoven, a devout republican, withdrew the dedication in disgust and titled the work simply “Eroica.”[2]

Eroica premiered on Polish Television in 1972 and depicts wartime couriers crossing the Tatra Mountains.[3][4]

Eroica won the FIPRESCI Award at the 1959 Mar del Plata Film Festival.

Synopsis

Scherzo Alla Pollacca

The first part is a bitter, tragicomic story of Dzidziuś ("Babyface"), a street-wise bon-vivant, drunkard, and coward who unwillingly joins the Home Army during the Warsaw Uprising. Dzidziuś' wife, Zosia, is having an affair with a Hungarian officer and Dzidziuś reluctantly becomes the messenger between the Home Army and the Hungarian unit, which is considering changing sides.[5]

Ostinato Lugubre

The second part is set in a POW camp for Polish soldiers. Lt. Zawistowski, one of the internees, decides to attempt to escape. While none of his fellow inmates are sure whether he succeeded, his absence upsets the guards and provides hope and inspiration for the prisoners. Soon his legend grows, making him a hero within the camp and helping to boost the prisoners' morale. However, it turns out that Lt. Zawistowski didn't actually follow through on his escape plans, but is hiding in the attic of one of the barracks. It turns out that he was hiding from his colleagues, whose ostentatious patriotism he simply could not stand.[6]

Cast

Critical Assessment

Historian Dorota Niemitz offers this on the cinematography of Eroica:

Some of the director’s experiments with camera work and the “theatrical” use of space in certain scenes (an individual in a large space versus groups stuck in a small one), are less successful and fail to create a cohesive unity. So Eroica becomes a bit tiresome, and leaves the viewer with the feeling of an unfinished piece that does not entirely live up to its ambitious aspirations.[7]

See also

Footnotes
  1. Niemitz, 2014: “In Eroica, Munk criticizes both the opportunism and the national romantic tradition that demanded heroic sacrifice, showing how crippling these attitudes, two sides of the same coin, were to Poles throughout history…”
  2. Niemitz, 2014: “Ending both portions of the film with the irony of success turning into failure, coupled with a reference to Beethoven’s Third (“Eroica” or Heroic) Symphony, shows Munk to be a master of tragicomedy.”
  3. Haltof, Marek (2002-01-01). Polish National Cinema. Berghahn Books. pp. 106–107. ISBN 9781571812766.
  4. BFI.org
  5. Niemitz, 2014: “...Babyface…”
  6. Niemitz, 2014: “The pride and honor of the movie’s heroes are contrasted with the submissiveness of the majority of the prisoners, who, protected by the Geneva Convention, manage to “normalize” life in the camp through food-eating contests and festivals.”
  7. Niemitz, 2014

Sources
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