“The Faitful River” – Polish Woman and the Tragedy of History [Review]

Title: “The Faithful River” (“Wierna rzeka”)

Release Date: 1983

Director: Tadeusz Chmielewski

Cast: Małgorzata Pieczyńska, Olgierd Łukaszewicz, Franciszek Pieczka, Wojciech Wysocki, Jan Jurewicz, Henryk Bista

The movie “Wierna rzeka” (The Faithful River) is an outstanding adaptation of Stefan Żeromski’s novel. Tadeusz Chmielewski masterfully depicted not only the tragic story of the January Uprising, but also the personal drama of a Polish woman who sacrifices her happiness for the sake of her love for an insurgent. In the film, unlike in the novel, it is the female character who is particularly highlighted, and Małgorzata Pieczyńska’s phenomenal performance is both delightful and moving. Abandoned by everyone, Miss Brynicka is a victim of both an unjust history and an immature man who is unable to fully appreciate the depth of the feelings he has been given.

“The Faithful River” and its subsequent film adaptations

Stefan Żeromski’s “The Faithful River” from 1912 has been adapted for the big screen three times. The first, silent adaptation was made in 1922, directed by Edward Puchalski. In 1936, the novel was adapted for the screen by Leonard Buczkowski, while the third version was created in 1983 by Tadeusz Chmielewski. However, the last of these adaptations was stopped by censorship and did not premiere until 1987. The theme of the January Uprising, although it concerned the struggle of Poles against imperial Russia, not Soviet Russia, was too clearly in line with the socio-political context of the Polish People’s Republic. It should be emphasized, however, that thanks to this film, Chmielewski, previously known as the creator of popular comedies, demonstrated the breadth of his talent as a director.

“Wierna rzeka” is the story of an insurgent who miraculously escapes death and, seriously wounded and then chased away by peasants, finds himself in one of the noble manors – in Niezdoły. The only inhabitants of the deserted house are a young lady, Salomea Brynicka (Małgorzata Pieczyńska), and her old servant, Szczepan (Franciszek Pieczka). Despite the danger she faces, the girl decides to save the stranger at all costs. Risking her life, she brings him a doctor (Henryk Bista), pawns her personal belongings to get food, and watches over his bed day and night. She also bravely faces successive searches by Cossack troops looking for the wounded insurgent. Ultimately, both of them avoid death because Russian Captain Wiesnicyn (Wojciech Wysocki), who is in love with Salomea, cannot bring himself to harm the girl, even though he discovers the truth.

Meanwhile, Józef Odrowąż (Olgierd Łukaszewicz), for that is the insurgent’s name, slowly regains his strength and falls in love with Miss Brynicka, who reciprocates his feelings. It turns out that the man is a prince. When spring comes, Odrowąż’s mother arrives at the manor and, lying that she has received news of the formation of insurgent troops, persuades her son to leave Niezdoły. She tells Salomea that due to the difference in their backgrounds, she cannot become Józef’s wife and gives her a purse of gold coins as consolation. Miss Brynicka, in despair, throws the money into the water and faints. Old Szczepan finds the unconscious girl and takes her home.

“The Faithful River” – between the novel and the movie

“The Faithful River” directed by Tadeusz Chmielewski, realizes Żeromski’s most important idea, which is to show the tragedy of the January Uprising and the destructive influence of history on people’s personal fates. The plot is consistent with the novel, and the symbolism of the title is preserved. The river is a capacious metaphor, the meaning of which is explained by subsequent events related to it: although it is a cold and murky abyss, it is thanks to it that Odrowąż saves his life when pursued by peasants from a nearby village. One of the leaders of the national government throws secret documents into the river to prevent them from being intercepted by the Cossacks. Finally, Salomea throws the money given to her by her beloved’s mother into the same water.

Each time, the river becomes a refuge, a hiding place, and a confidant of the most closely guarded secrets. Its rushing current is associated with the passage of time, making it a meaningful symbol of the collective subconscious and national memory. This reservoir of tragic experiences, passed down from generation to generation for centuries, shapes Polish identity. What is more, the use of aquatic symbolism emphasizes that we are dealing with a living, even eternal, creation. This means that Polish national memory will never be destroyed.

The combination of the word “river” with the adjective “faithful” has an animistic, even anthropomorphic character. The personified river is associated with the feminine element – a faithful lover. Giving the river feminine attributes is no coincidence: it is women who have become the guardians of national memory in Polish history. Deprived of husbands and fathers, they took on the burden of raising subsequent generations and passing on values to them. It is worth noting that in Chmielewski’s film, unlike in the novel, the female character comes to the fore. This is undoubtedly a story told from the perspective of a woman and her dramatic fate. The character of Salomea becomes a figure representing all Polish women and their own narrative of the past, which is not conveyed in textbooks. It is a story of poignant loneliness and abandonment, of transparent heroism that is not glorified.

The movie “Wierna rzeka” and the image of the January Uprising

Chmielewski’s “The Faitful River” presents the January Uprising in an extremely dramatic way. It portrays both the heroism and the tragic defeat of the Polish January Uprising. The insurgents are partisans hiding in the forests, colorless and unarmed, hungry, tired, and cold. Józef Odrowąż still represents General Marian Langiewicz’s formations, which clashed with the Russians in open combat near Małogoszcz on February 24, 1863. After their defeat, subsequent troops were increasingly impoverished and had less and less strength at their disposal. What is more, as we see in the film, the insurgents not only fought against the enemy, but were also weakened by the unfavorable attitude of the peasants, who did not treat the uprising as a common cause, but attributed it to the “lords.”

Chmielewski’s movie accurately shows that an important factor in the failure of January was the internal disputes between two conflicting political currents: the Whites and the Reds. The former, represented by Odrowąż, did not see the need to include the lower classes in the national community, while the latter, much more radical in their actions and views, represented by members of the National Government staying in Niezdoły, announced their decision to enfranchise the peasants too late, appealing to the idea of solidarity.

However, Chmielewski’s “The Faithful River” does not follow the path of extreme martyrdom. Despite the tragic fates of Szczepan and Salomea’s father, the idea of resistance against the enemy seems undeniable, even obvious, and the sacrifice has a deep meaning. The director achieved this effect primarily thanks to the complex and interesting character of Captain Wiesnitsyn. Although the Russian is, for obvious reasons, a fierce enemy of the Polish rebellion, he also admires the Poles for their love of freedom and even envies their will to fight. In the climactic scene, pointing his pistol at Odrowąż, he utters the significant words: “You Poles know how to die.”

“The Faithful River” – the steadfast Salomea

However, “The Faithful River” from 1983 is primarily a story about a Polish woman – Salomea, wonderfully portrayed by Małgorzata Pieczyńska. The actress played an internally mature, wise woman and a courageous patriot. She is a character who positively shines against the backdrop of a grim and vile reality. The heroine wears a distinctive black outfit with a simple cross, as a sign of mourning for the fallen insurgents. Her thoughtful and deep patriotism is shown in scenes where she teaches Ryfka Polish poetry and, without hesitation and regardless of the risk to her own life, rescues and then hides a wounded insurgent. The beautiful young lady is the object of desire of many men: the doctor, who tries to win her favor in exchange for removing the bullet from Odrowąż’s body, and Captain Wiesnina.

However, Salomea deeply loves the wounded Józef, whom she saves from death several times. She sacrifices herself completely for him, almost losing herself, giving him everything she has. Unfortunately, instead of such pure love, the man chooses to continue fighting and leaves the girl. However, we are dealing here with a drama much deeper than the separation of two people by an unjust history. Odrowąż, although ready to give his life for his homeland, does not seem mature enough for a real relationship with a woman. He does not mind that in the presence of his mother, Salomea is treated like a maid when the butler hands her the “prince’s” suitcase. He himself mistakenly takes her for a servant when he sees her washing his clothes. Józef is also not interested in the further fate of his abandoned lover.

Accustomed to serving and satisfying all her whims, he willingly agrees to his mother’s lie. It is significant that Odrowąż’s selfish attitude contrasts with the genuine feelings of Captain Wiesnina. The former is unable to abandon the conventions of his social class for love and marry a simple noblewoman. The latter, despite being a representative of the enemy army, acts against orders and his desire for personal revenge, sparing both their lives. Ultimately, Salomea is left alone with a broken heart and a dishonored soul. In a desperate gesture, she throws the gold coins, with which they wanted to pay her for her selfless love and kindness, into the river. No human being could comprehend the depth of her unspeakable suffering. Meanwhile, “the water splashed – as a sign. She alone understood the torment of his heart. She alone responded to him with an understandable sound.”