Ida, released in 2013, is a black and white film about self-discovery, betrayal and family set against a backdrop of 1960s Poland. At the time, the landscape of the country was grim, suffering from economic downturn and failure to recover after the world war. The film follows the journey of Ida and her aunt, Wanda. The two are brought together for the first time after the convent that raised the orphaned Ida urges her to visit Wanda, her only living relative. They embark on a mission to uncover the truth behind Ida’s parents’ death. Her father was Jewish and had been slaughtered with his wife and nephew, whom we later discover to be Wanda’s son, by their neighbor. Their killer believed Ida could pass as a non-Jew and left her with the priest of the local chapel.
Days away from completing her vows to become a nun, Ida, paired with her secular, promiscuous aunt, discovers life outside of the convent: smoking, drinking and jazz. As she and her aunt get closer to finding the burial site of their family, Ida starts exploring herself and her femininity by looking at herself in the mirror or bringing her beautiful hair out from under her nun’s veil and chatting with a young saxophone player. These small moments of temptation create doubt in Ida’s mind as to whether or not she is prepared to fully commit herself to a life as a nun.
Throughout the film, we see elements of the western world, suggesting that even through the Cold War era, the progress of the West has rippled through to Eastern Europe: a “Bar” sign in a small village, and the most prominent feature throughout the film, American jazz.
The common thread is music. In fact, the film is defined by it. Sometimes the tempo is fast and lighthearted, in scenes such as the evenings attended by Wanda and Ida in the hotel’s basement. Other times its tone is melancholic and grey.
There are also scenes in which the camera does not follow whatever character it is focused on, and as this person exits the shot there are some seconds of suspense in which our focus is fixed on inanimate objects rather than the living, breathing characters.
Towards the end of the film, Wanda is overcome by sorrow: the son of the neighbor who killed their family has shown them where he buried their relatives. Here Wanda finds the bones of her infant son – she had left him in the care of her sister, and had joined the resistance against Germany. Her choice had taken her son from her, but it also allowed her to become a state prosecutor, and ultimately a judge; it had turned her into an essential “comrade” of the new Polish order, and had given her status. However, this does not seem to give Wanda strength. On the contrary, it eats at her, as though it were all for nothing. She refers almost sarcastically to the other Poles she’s sentenced to death in her position of power, as though the words should carry an important weight. Instead all they do is make her feel cowardly, like a traitor.
Felix, the man who murdered her son, is also overwhelmed. In the small ditch he’d dug to bury the family, he crouches down in pain, succumbing to the guilt he feels over his past actions.
Once Ida leaves her to return to the convent, we see Wanda spiraling into despair by drinking more, smoking more and bringing more men home with her.
Just as her son’s murderer is desperate after years of carrying the weight of his past actions, Wanda enters a state that is increasingly similar to Felix’s. Their despair is reflective of the Polish times the film is set in: after a temporary surge of success that brought them a new regime and new hope after the tragedies of WWII, the country had fallen into a dark pattern that no false hope could alter. Wanda had fought for a better Poland, now she was merely a tool of the Communist regime. Her ideals were shattered: she’d given up her child for nothing and was left feeling empty and desperate.
At the peak of her sadness, Wanda plays one of her Mozart symphonies where the tempo is fast and loud. She goes about in regular routine, smoking a cigarette, opening her window, putting on her coat as if ready to go out. Then, with chilling speed, she walks up to the open window, steps onto the ledge, and jumps out. The scene happens so quickly, paired with the liveliness of the music playing in the background and the nonchalance with which Wanda steps off the ledge, that it is shocking to the viewer like a sudden electric shock from a loose wire.
After separating from her aunt, Ida shows increasing signs of doubt in her commitment to her faith. She begins giggling in the middle of a meal, a traditionally silent affair, and stares ambiguously at another nun that is bathing in front of her, leading us to believe she is, as Wanda put it, having “sinful thoughts.” This climaxes in her confessing to a statue of Jesus that she is not ready and asking for forgiveness. By the time she returns to the city, her aunt is already gone.
Ida moves into Wanda’s now vacant apartment, and simultaneously inhabits the space as well as the identity of her aunt: she puts on her aunt’s clothes, tries a cigarette, consumes a bottle of vodka. At her aunt’s funeral, she is reunited with the charming saxophone player she had met on her travels with Wanda. After meeting him at one of his gigs, they return to Wanda’s apartment, and spend the night together.
The abrupt change in Ida’s character seems to signify her haste in cutting ties with the life she had always known, of chastity and devotion to God. It seems as though she is on the verge of changing for good – that she will follow her new romantic partner to the seaside where he is scheduled to play with his band, and as he suggests, get married and start a life together.
It seems as though the “happily ever after” we are promised in most modern-day cinema is nearing. Instead, just as quickly and harshly as Wanda took her life, Ida changes her own narrative in a completely unexpected way: as morning comes, the young girl retrieves her convent clothes, retires her hair once again to her veil, and quietly slips out of her late aunt’s apartment, leaving behind her lover and the life they could have had together.
Some may interpret this ending as a sad one, as though we have been cheated of the romantic ending we were expecting. In truth, the ending reflects a great deal of what we have seen throughout the movie: the dynamic between a saintly, quiet girl, and a woman wrecked by loss. Ida chooses solitude and salvation: she chooses her loyalty to her family at the convent, the ones that had raised her, rather than following in the footsteps of her bereaved aunt.
There is power in this ending. It almost seems as though she is moving toward a life that serves a greater purpose than serving as a man’s wife, a mother to his children. Instead she chooses to serve her creator, what she believes to be the most powerful thing in existence.
The final shot, in which Ida walks steadfast, almost defiantly down the dirt road, with clear conviction in her eyes, shatters the bleak trends of the movie so far. It makes one feel as though there is hope for the young girl, and by association hope for Poland. There is nothing beautiful, or romantic, about the state Poland found itself in at the time. However, Ida is a small ray of light in an otherwise grey landscape, a woman who chooses the greatness of the unknown over the safe promise of a domestic life.
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I had the opportunity to watch ‘Ida’ recently, and I must say, it left a lasting impression on me. The film beautifully captures the themes of self-discovery, betrayal, and family against the backdrop of 1960s Poland, a time of economic hardship and post-war struggles.
The journey of Ida and her aunt, Wanda, as they uncover the truth behind their family’s tragic past, is both captivating and emotionally charged. The contrast between Ida’s life in the convent and the newfound experiences she shares with her secular and promiscuous aunt is thought-provoking. Through these experiences, Ida begins to question her commitment to a life as a nun and explores her femininity and desires.
Music plays a significant role in the film, reflecting the influence of the Western world even in the midst of the Cold War era. The use of black and white cinematography further enhances the melancholic tone of the story.
The ending, although unexpected and perhaps bittersweet for some, holds a powerful message. Ida’s choice to return to her life at the convent, leaving behind the possibility of a romantic relationship, showcases her strength and conviction in serving a greater purpose. It resonates as a symbol of hope amidst the bleakness of Poland’s circumstances.
Overall, ‘Ida’ is a remarkable film that skillfully explores complex themes while portraying a poignant and unforgettable story. It challenges our perceptions and reminds us of the power of choice and the pursuit of something greater.
Thank you for sharing your insights and analysis of this thought-provoking film.
Thank you,
Navigasyonltd
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The film “Ida” (2013) beautifully captures the themes of self-discovery, betrayal, and family against the backdrop of 1960s Poland. The setting of post-war Poland, with its economic struggles and remnants of the past, adds depth to the story of Ida and her aunt, Wanda.
The film delves into the journey of Ida, an orphan raised in a convent, who is urged to visit her only living relative, Wanda. Together, they embark on a quest to uncover the truth behind Ida’s parents’ tragic death during the war. As the layers of the story unfold, Ida begins to question her commitment to becoming a nun, especially as she explores her femininity and encounters worldly temptations through her aunt’s guidance.
Music serves as a significant element throughout the film, symbolizing the influence of the Western world even in the midst of the Cold War era. The contrast between fast, lighthearted tempos and melancholic, grey tones reflects the emotional journey of the characters.
The cinematography of “Ida” adds a layer of suspense and intrigue, occasionally focusing on inanimate objects rather than the characters themselves, heightening the tension and allowing for contemplation.
Towards the conclusion of the film, Wanda experiences profound sorrow upon discovering the burial site of their family members. Despite her position of power as a state prosecutor and judge, Wanda grapples with feelings of emptiness and betrayal. The sacrifices she made during the war ultimately lead her to question the value of her actions and the weight of her words.
“Ida” is a visually stunning film that explores the complexities of personal identity, the effects of history, and the human struggle for meaning and purpose. It captures the nuances of the characters’ emotions and invites reflection on the choices and sacrifices made in the pursuit of justice and self-discovery.
VOIR Magazin
Wow, diving deep into the stormy seas of the soul against post-war Poland’s gloomy skies, “The Saint and the Sinner” feels like a rollercoaster of raw human emotion! The dance between faith and temptation in Ida’s spirit, the weight of Wanda’s haunting past – it’s all so palpably real. This isn’t just ink on paper; it’s a masterpiece crafted in prose, vividly bringing to life the film’s scenes while weaving individual tales into Poland’s rich cultural tapestry. It’s like diving headfirst into a whirlwind ballet of sentiments and eras! The music, as you’ve pointed out, becomes an emblem of contrasting worlds – between East and West, old and new, sacred and secular. Man, that ending hits you right in the feels, doesn’t it? It’s like stopping at a crossroad and staring down each path, wondering where life’s twists and turns might lead. That image of Ida choosing her way? It’s a pure, raw moment of guts, hope, and finding oneself. Amidst the whirlwind, it’s like our souls have this built-in compass, always seeking that beacon. Your rundown of the film? Pure emotional gold. Now I’m all revved up to dive deep into this cinematic ocean.
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