Ziemia obiecana

Name: Ziemia obiecana
Director: Andrzej Wajda
Genre: หนังชีวิต, ประวัติศาสตร์
Released: 1975-02-21
Duration: 2 h 59 min
Rating: 7.3
Cast: Daniel Olbrychski, Wojciech Pszoniak, Andrzej Seweryn, Kalina Jędrusik, Anna Nehrebecka

In nineteenth-century Łódź, Poland, three friends want to make a lot of money by building and investing in a textile factory. An exceptional portrait of rapid industrial expansion is shown through the eyes of one Polish town.

รับชมตอนนี้ ดูตัวอย่าง

นักแสดงนำ

Daniel Olbrychski

Karol Borowiecki
Wojciech Pszoniak

Moryc Welt
Andrzej Seweryn

Maks Baum
Kalina Jędrusik

Lucy Zuckerowa
Anna Nehrebecka

Anka
Bożena Dykiel

Mada Müller
Andrzej Szalawski

Herman Bucholz
Stanisław Igar

Grünspan
Franciszek Pieczka

Müller

เรื่องย่อ

คะแนน

7.3 / 10

86 รีวิว

1 ยอดนิยม

1 รีวิว

badelf
8 30 พ.ย. 2568

Andrzej Wajda's "The Promised Land" is quite fascinating and eminently watchable. The period imagery is superb, capturing late 19th century industrial Łódź with visceral authenticity. From the opening shots of choking black smoke enveloping the city, Wajda establishes the visual language of a world consumed by industrial greed. The narrative grows progressively darker and more cutthroat, following the moral degradation of three ambitious men chasing wealth in Poland's textile boom. The partnership itself—a Pole, a German, and a Jew—is positioned as a study in ethnic dynamics. At times they casually hurl slurs appropriate to each other's ethnicity, which is chronologically accurate for the period. But this authenticity creates an unintended problem: the characters teeter on the edge of caricature. The stereotyping, while historically true, gives the film a faintly farcical quality that undercuts the serious message about industrialization's brutality. The message about the evils of capitalism and industrialization is clear and seems to be Wajda's intended theme. He tells this story beautifully, showing how the promise of wealth transforms men into monsters, how the factory system devours human dignity along with human bodies. But running parallel is the issue of racism and classism, which never quite integrates with the capitalist critique. Wajda seems to want to accomplish too much. The result is a film of impressive craft and power that struggles to find its center. Are we watching a Marxist critique? An ethnic tension study? A character-driven moral collapse? The film gestures toward all three without fully committing, leaving us admiring the machinery without understanding Wajda's vision.