249:
this. Before the residents can agree on what to do with the Jew, he escapes with Korsak under the cover of night into the forest. The news of the unwanted guest's disappearance does not calm the household. Mrs. Piekarczyk searches the mattress where the Jew was hiding, looking for gold. Meanwhile, Katjan rapes
Katarzyna. Humiliated, Katarzyna returns to Marta and asks her to turn off the lamp. Marta, guessing what has happened, breaks down in tears.
237:, in 1943, over a single day. The owner of a certain house, Mrs. Piekarczyk, mourns the sudden death of her husband, whose coffin is soon to be taken out. Her daughter Marta, who secretly loves a tenant named Korsak, supports her grief. Also living in the house is Katarzyna, a married woman with one child; her husband has been taken away by the
245:. While riding in a carriage, Korsak unsuccessfully tries to convince Katjan to bypass the blockades set up by the gendarmes, which leads to a fight between them. Eventually, they both return home and upon their return, Korsak tells Katjan to lie to the rest of the household, saying the fight was about Katarzyna.
426:, shifted the time of the action to winter, and limited it to a few hours. While the Jew was the central figure in the novel, Nasfeter made him merely a catalyst for the tumultuous events in the provincial house. Joanna Preizner argued years later that these changes were necessary to begin work on the film:
248:
While Korsak goes upstairs, Marta and
Katarzyna discover that Korsak has been hiding a Jew in his room. The accidental discovery of the fugitive provokes a heated argument among the residents. Katjan and Mrs. Piekarczyk lean towards turning the newcomer in, while Marta and Katarzyna refuse to allow
594:
In all my films, I sought the truth about people. I wanted to understand their motivations. In 'Długa noc', where I depicted Poles and Jews, I did not seek out exceptional attitudes. Extreme in their cruelty or kindness. Some were heroes, others were driven by fear. Now I think that the essence of
647:
did not achieve the popularity of many other Polish "shelf films" and was largely forgotten by both audiences and critics. Aránzazu Calderón Puerta and Tomasz Żukowski noted that the film's neglect was partly due to its sensitive subject matter of anti-Semitism in Poland:
431:
Nasfeter was fully aware that the text, to be approved for production, could not contain scenes like those described by
Rogowski. Not wanting to replace them with others or create a softened version of the Jewish refugee's fate, he decided not to show them at
241:. Under the pretext of offering help, her brother-in-law Józef Katjan visits her regularly. Unexpectedly, a curfew is announced in the town from six in the evening until noon the next day – right when Korsak plans to deliver weapons to the
716:
A short film by
Andrzej Brzozowski from 1963 also addressed the theme of Polish anti-Semitism through the tragic fate of a Jewish woman who escaped from a transport to Auschwitz. It premiered on television only in
520:, and anti-Semitic sentiments were stoked from the top. During the review, commentators were outraged by a scene in which Katarzyna discovers the Jew hiding behind a curtain and exclaims in horror,
1137:Żukowski, Tomasz; Puerta, Aránzazu Calderón (2014). "Narracja narodowo-kombatancka versus wątek żydowski w kinie polskim lat sześćdziesiątych". In Chmielewska, K.; Wołowiec, G. (eds.).
595:
humanity is really the instinct for self-preservation. There are exceptions to this. Just like in mathematics. Where do they come from? That is a matter for God, or perhaps genetics...
422:
Nasfeter personally wrote the screenplay based on
Rogowski's book in the summer of 1966. Cautiously, he removed the subplot of the Jew Jakub’s wandering after escaping from the
405:
exploitation of Jews in need of help, robbing them, and ruthlessly getting rid of the problem by denying them shelter, murdering them, or handing them over to the
Germans
543:
gradually waned. It became clear that the film would never be shown during the communist era. From a list of films banned by the authorities, it was evident that
660:– or rather the lack thereof – seems particularly significant given that so much attention has been devoted to the so-called 'shelf films' since the early 1990s.
532:. The final sequence, culminating in the rape of Katarzyna, further worsened the situation. Zaorski dismissed her traumatic experience as pushing the film
1271:
1238:
1207:
1293:
1255:
1191:
1070:
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230:
437:
On 28 October 1966, the Script
Evaluation Committee positively reviewed Nasfeter's screenplay and unanimously decided to greenlight the
1313:
1308:
476:. Due to weather conditions, not only the cast but also the crew members wore fur coats. In her production report for
609:
513:
682:
618:
1303:
671:
missed opportunity for Polish cinema, and certainly the biggest missed opportunity in Janusz
Nasfeter's career
342:
201:. The plot revolves around the dilemmas faced by the residents of a certain house in occupied Poland during
573:
384:
1087:
654:
555:
213:
was one of the earliest "shelf films" – movies whose distribution was prevented by censorship during the
1232:
687:
548:
1217:""Ten obraz jest trochę straszliwy". Historia pewnego filmu, czyli naród polski twarzą w twarz z Żydem"
631:
485:
461:
388:
277:
191:
84:
48:
692:
525:
464:, who primarily used close-ups of the characters' faces for dramatic effect. The location chosen for
348:
264:
74:
1298:
1288:
1009:. A Rand Corporation research study (in English and Polish). New York: Vintage Books. p. 388.
636:
316:
290:
282:
242:
206:
329:
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1201:
560:
303:
488:, and the costumes were made by Jolanta Komorowska. Roman Kolski edited the recorded material.
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1138:
399:. Rogowski described anti-Semitic acts among Poles in the provinces long before the books of
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there are far more Poles who gave their lives to save Jews than those who handed them over
416:
408:
183:
30:
762:
Remember, not a word. If anyone asks what we fought about, you say it was about
Katarzyna
295:
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423:
396:
269:
214:
1143:(in Polish). Warsaw: Instytut Badań Literackich Polskiej Akademii Nauk. p. 253.
517:
505:
400:
321:
234:
218:
202:
568:. It was not until 30 October 1989 during Poland's political transformation, that
469:
1004:
987:
460:. Marceli Nowak was the film’s production manager. Cinematography was handled by
456:
Film Unit under the artistic direction of
Aleksander Ford, at the Film Studio in
334:
501:
360:
1043:
697:
608:
is regarded as the second longest-censored full-length film in the history of
457:
308:
673:, previously known exclusively for his youth films. Jaskulski argued that
539:
Although the film was initially planned to be released, media interest in
1112:
820:
179:
528:, closing the review, did not accept the film's message and opined that
205:, where one of the inhabitants is revealed to be a collaborator with a
589:
his most outstanding work, as well as the most personal of his career:
509:
473:
238:
221:
sentiments, Nasfeter's film was not allowed to be shown until 1989.
804:, Warsaw: Agencja Artystyczna MTJ, 1:16:20-1:17:50 minutes in
758:, Warsaw: Agencja Artystyczna MTJ, 39:04-39:10 minutes in,
547:
was one of the top-priority films to be banned, right after
681:, especially in the context of much later films like
480:magazine, Krystyna Garbień noted that the crew had
157:
149:
139:
115:
98:
90:
80:
66:
58:
44:
36:
26:
21:
1063:Polish film and the Holocaust: politics and memory
926:Garbień, Krystyna (1967). "Zima w Wyszogrodzie".
508:countries supported the Arab aggressors against
500:took place a few days after the outbreak of the
1184:Niewygodna zagadka: twórczość Janusza Nesfetera
1065:. New York: Berghahn Books. pp. 130, 137.
1248:Kamienie na macewie: Holokaust w polskim kinie
679:rightful place in the history of Polish cinema
522:He's hiding a Jew. He will bring death upon us
229:The action of the film takes place during the
624:the last "shelf film" of the 1945–1989 period
8:
1186:(in Polish). Warsaw: Dom Wydawniczy Elipsa.
1250:(in Polish). Kraków: Wydawnictwo Austeria.
313:– Józef Katjan, brother-in-law of Katarzyna
653:The reception history of "Długa noc" and "
18:
1165:
1153:
630:. However, this title eventually went to
1029:
904:
892:
880:
868:
856:
844:
622:(1958). As early as 1992, it was dubbed
415:on the advice of Jerzy Niemianowski and
729:
709:
287:– Marta, daughter of Mrs. Piekarczykowa
16:1967 Polish war film (released in 1989)
1270:: CS1 maint: ref duplicates default (
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640:(1972), which was discovered in 2009.
585:, Nasfeter claimed that he considered
992:(in Polish). Aneks. 1978. p. 61.
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643:Despite its historical significance,
524:. Deputy Minister of Culture and Art
7:
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813:
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775:
741:
737:
735:
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1006:The Black book of Polish censorship
534:into the realm of internal feelings
516:'s authorities was dictated by the
1003:Curry, Jane Leftwich, ed. (1984).
482:good film stock and good equipment
14:
1221:Zagłada Żydów. Studia i Materiały
209:unit and a person hiding a Jew.
1088:"Premiera ostatniego półkownika"
1086:Wiewiórski, Jacek (2009-05-29).
677:deserves to be restored to its
339:– Szymański, employer of Korsak
492:Review and ban on distribution
407:. In the late 1960s, director
217:. Created in an atmosphere of
1:
484:. The set design was done by
357:– a woman with a broken watch
1294:Polish black-and-white films
512:forces. The reaction of the
231:German occupation of Poland
1330:
665:Paweł Jaskulski described
619:The Eighth Day of the Week
612:cinematography, following
124:October 30, 1989
1246:Preizner, Joanna (2012).
1140:Rok 1966. PRL na zakręcie
989:Czarna księga cenzury PRL
800:Nasfeter, Janusz (2008),
754:Nasfeter, Janusz (2008),
626:by Katarzyna Bielas from
579:In a 1992 interview with
610:Polish People's Republic
514:Polish People's Republic
182:from 1967, directed by
1182:Jaskulski, P. (2021).
1113:"Przy torze kolejowym"
1061:Haltof, Marek (2012).
663:
598:
435:
1314:Polish-language films
1044:"Reżyserzy na uwięzi"
650:
591:
574:Łódź House of Culture
428:
411:became interested in
385:Wydawnictwo Lubelskie
343:Zdzisław Maklakiewicz
261:– Katarzyna Katjanowa
186:, based on the novel
683:Władysław Pasikowski
655:Przy torze kolejowym
452:was produced by the
274:– Mrs. Piekarczykowa
907:, pp. 200–201)
504:, during which the
1309:Polish drama films
369:– policeman Wasiak
1257:978-83-61978-92-3
1215:Kurz, I. (2008).
1193:978-83-8017-399-6
1072:978-0-85745-356-3
1042:Kruk, A. (2018).
1016:978-0-394-71734-0
693:Paweł Pawlikowski
632:Jacek Butrymowicz
572:premiered at the
566:Jerzy Skolimowski
486:Jerzy Skrzepiński
367:Ryszard Pietruski
349:Halina Buyno-Łoza
259:Anna Ciepielewska
165:
164:
71:Anna Ciepielewska
1321:
1304:Polish war films
1275:
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1050:(in Polish): 28.
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462:Antoni Nurzyński
401:Jan Tomasz Gross
389:Wiesław Rogowski
379:Preparatory work
355:Krystyna Feldman
338:
325:
312:
300:– Zygmunt Korsak
299:
286:
278:Jolanta Wołłejko
273:
215:communist regime
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192:Wiesław Rogowski
131:
129:
85:Antoni Nurzyński
49:Wiesław Rogowski
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1166:Jaskulski (2021
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1154:Jaskulski (2021
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628:Gazeta Wyborcza
614:Aleksander Ford
603:
582:Gazeta Wyborcza
526:Tadeusz Zaorski
494:
447:
417:Aleksander Ford
409:Janusz Nasfeter
391:'s debut novel
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184:Janusz Nasfeter
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40:Janusz Nasfeter
31:Janusz Nasfeter
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1168:, p. 173)
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1156:, p. 171)
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1032:, p. 210)
1030:Preizner (2012
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977:, p. 480)
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962:, p. 478)
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950:, p. 469)
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905:Preizner (2012
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895:, p. 199)
893:Preizner (2012
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883:, p. 197)
881:Preizner (2012
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871:, p. 196)
869:Preizner (2012
861:
859:, p. 187)
857:Preizner (2012
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847:, p. 182)
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790:, p. 482)
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778:, p. 481)
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746:
744:, p. 468)
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496:The review of
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265:Ryszarda Hanin
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178:) is a Polish
175:The Long Night
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81:Cinematography
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75:Ryszarda Hanin
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1223:(in Polish).
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637:Kwiat paproci
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424:Lublin Ghetto
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397:Lubelszczyzna
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62:Marceli Nowak
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1233:cite journal
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1176:Bibliography
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1149:
1139:
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1121:. Retrieved
1116:
1107:
1096:. Retrieved
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829:. Retrieved
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601:Significance
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561:Ręce do góry
559:
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506:Eastern Bloc
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330:Henryk Hunko
247:
235:World War II
228:
219:anti-Semitic
210:
203:World War II
187:
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166:
141:Running time
117:Release date
107:
94:Roman Kolski
52:
1119:(in Polish)
1094:(in Polish)
1092:wyborcza.pl
827:(in Polish)
821:"Długa noc"
691:(2011) and
502:Six-Day War
361:Irena Netto
351:– Szymańska
333: [
320: [
307: [
294: [
281: [
268: [
195: [
59:Produced by
27:Directed by
1299:1967 films
1289:1989 films
1283:Categories
1123:2024-06-15
1117:FilmPolski
1098:2024-06-15
975:Kurz (2008
960:Kurz (2008
948:Kurz (2008
831:2024-06-15
825:FilmPolski
802:Długa noc
788:Kurz (2008
776:Kurz (2008
756:Długa noc
742:Kurz (2008
724:References
564:(1968) by
445:Production
387:published
374:Production
345:– Antoszka
304:Ludwik Pak
172:(English:
128:1989-10-30
100:Production
37:Written by
1266:cite book
1202:cite book
688:Aftermath
675:Długa noc
667:Długa noc
645:Długa noc
606:Długa noc
587:Długa noc
570:Długa noc
550:The Devil
545:Długa noc
541:Długa noc
498:Długa noc
470:Wyszogród
466:Długa noc
450:Długa noc
441:project.
439:Długa noc
395:, set in
383:In 1961,
363:– Dalecka
243:partisans
211:Długa noc
169:Długa noc
110:Film Unit
91:Edited by
51:'s novel
22:Długa noc
934:: 10–11.
760:Korsak:
701:(2013).
207:partisan
180:war film
158:Language
67:Starring
45:Based on
510:Israeli
472:, near
458:Wrocław
233:during
150:Country
126: (
102:company
1254:
1190:
1069:
1013:
552:(1972)
474:Warsaw
454:Studio
161:Polish
153:Poland
145:78 min
108:Studio
717:1992.
705:Notes
669:as a
337:]
326:– Jew
324:]
311:]
298:]
285:]
272:]
239:Nazis
199:]
1272:link
1252:ISBN
1239:link
1208:link
1188:ISBN
1067:ISBN
1048:Kino
1011:ISBN
928:Film
558:and
478:Film
468:was
432:all.
253:Cast
225:Plot
698:Ida
695:'s
685:'s
634:'s
616:'s
554:by
413:Noc
393:Noc
190:by
188:Noc
53:Noc
1285::
1268:}}
1264:{{
1235:}}
1231:{{
1219:.
1204:}}
1200:{{
1115:.
1090:.
1046:.
967:^
940:^
932:14
912:^
823:.
810:^
732:^
576:.
536:.
419:.
335:pl
322:pl
309:pl
296:pl
283:pl
270:pl
197:pl
1274:)
1260:.
1241:)
1227:.
1225:4
1210:)
1196:.
1126:.
1101:.
1075:.
1019:.
834:.
764:.
657:"
130:)
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