This was Wajda's first movie after the election defeat of the Communists in Poland and deals with many aspects of human relationships in repressive times: kissing up to authority to make things better for others, resistance versus principled non-violence, blackmarketeering, trying to pass a member of an elite group, benefiting from others' bad luck, sacrificing friends for self-interest. The film is almost too burdened by looking at so much.
In spite of this, it really remains focused on how Korczak can provide precious childhood to his orphans in the Jewish Ghetto. He is fiercely protective and uncompromisingly humane in giving his children space to grow and find comfort. Unlike "Life is Beautiful" he acknowledges his children will have to face death (at least of those close to them) and prepares them with the emotional tools to deal with it. He demands a children's hospice ward so that no Ghetto child would die without dignity alone on the street. Any hand-holding in bright light can only be metaphor for the spiritual leadership. Indeed the bedtime tucking rituals, and the occasional giving up his bed to his most troubled charges is the strongest symbol of the childhood comforts he tries to give them.
Wojciech Pszoniak (Korczak) reminds me of Robin Williams as Oliver Sacks in Awakenings. He is so serious about those in his care, while at the same time able to provide them with good humor as needed. He is also a bit of a social misfit.
Like Szpilman, Korczak is so well loved and respected by all Poles (and even some Germans), he seems to have been chosen by them to survive. Korczak's fate mirrors the Pianist in the sense that Szpilman is aloof and his existence becomes more and more isolated as people help him survive. But because Korczak is so engaged, and so devoted to his children, his fate becomes more and more wedded to theirs.
Polanski is definitely more cinematic, but I think Wajda is more humanistic, especially from a script by Holland. In any event, the Poles cinematic treatment Holocaust is for me the most relevant, honest, and moving.
In spite of this, it really remains focused on how Korczak can provide precious childhood to his orphans in the Jewish Ghetto. He is fiercely protective and uncompromisingly humane in giving his children space to grow and find comfort. Unlike "Life is Beautiful" he acknowledges his children will have to face death (at least of those close to them) and prepares them with the emotional tools to deal with it. He demands a children's hospice ward so that no Ghetto child would die without dignity alone on the street. Any hand-holding in bright light can only be metaphor for the spiritual leadership. Indeed the bedtime tucking rituals, and the occasional giving up his bed to his most troubled charges is the strongest symbol of the childhood comforts he tries to give them.
Wojciech Pszoniak (Korczak) reminds me of Robin Williams as Oliver Sacks in Awakenings. He is so serious about those in his care, while at the same time able to provide them with good humor as needed. He is also a bit of a social misfit.
Like Szpilman, Korczak is so well loved and respected by all Poles (and even some Germans), he seems to have been chosen by them to survive. Korczak's fate mirrors the Pianist in the sense that Szpilman is aloof and his existence becomes more and more isolated as people help him survive. But because Korczak is so engaged, and so devoted to his children, his fate becomes more and more wedded to theirs.
Polanski is definitely more cinematic, but I think Wajda is more humanistic, especially from a script by Holland. In any event, the Poles cinematic treatment Holocaust is for me the most relevant, honest, and moving.