
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
Kazimierz Opaliński
Maks' Father
Andrzej Łapicki
Trawiński
Wojciech Siemion
Wilczek
Tadeusz Białoszczyński
Karol's Father
Zbigniew Zapasiewicz
Kessler
Jerzy Nowak
Zucker
Piotr Fronczewski
Horn
Jerzy Zelnik
Stein
Maciej Góraj
Adam Malinowski
Grażyna Michalska
Zośka Malinowska
Włodzimierz Boruński
Halpern
Danuta Wodyńska
Müllerowa
Marian Glinka
Wilhelm Müller
Jadwiga Andrzejewska
Bucholzowa
Aleksander Dzwonkowski
Priest Szymon
Kazimierz Wichniarz
Zajączkowski
Zdzisław Kuźniar
Kaczmarek
Halina Gryglaszewska
Malinowska
Jerzy Obłamski
Malinowski
Marek Walczewski
Bum-Bum
Lidia Korsakówna
Widow
Emilia Krakowska
Gitla
Bernard Ładysz
Russian Merchant
Bogusław Sochnacki
Grosglück
Bohdana Majda
Grosglückowa
Kazimierz Kaczor
Kipman
Teodor Gendera
Endelman
Jerzy Przybylski
Bucholz's Doctor
Jan Paweł Kruk
Mateusz, Borowiecki's Servant
Alicja Sobieraj
Anka's Maid
Krzysztof Majchrzak
Socha
Janina Grzegorczyk
Sochowa
Ryszard Bromowicz
Theatre Singer
Witold Dederko
Old Dyer
Tomasz Lengren
Kessler's Foreman
Jerzy Braszka
Engineer (uncredited)
Antoni Byszewski
Coachman (uncredited)
Mariola Kukuła
Maks' Lover (uncredited)
Jerzy Stasiuk
Theatre Patron (uncredited)
Lena Wilczyńska
Edelmanowa (uncredited)
Zofia Wilczyńska
Grunspanowa (uncredited)
Andrzej Wohl
Clerk (uncredited)
Bolesław Płotnicki
Malinowski (voice) (uncredited)Released
pl
- #factory worker
- #adultery
- #capitalist
- #factory
- #friendship
- #man vs machine
- #fire
- #husband wife relationship
- #cheating
- #capitalism
- #lodz
- #bankrupt
- #fire brigade
- #profit
- #pole
- #textile industry
- #period of promoterism
- #inhumanity
- #teacher
- #revenge
- #arsonist
- #humanity
Reviews
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












