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ON FAITH & MEDIA View Comments

Ida

By
Kurt Jensen
Source: Catholic News Service


Agata Trzebuchowska stars in a scene from the movie "Ida."
The starkly beautiful minimalist masterpiece that is "Ida" (Music Box) adroitly navigates two horrific eras of Polish history as an aspiring nun discovers her true identity.

While brisk and unadorned at a brief 80 minutes, the film is nevertheless anything but simplistic. Director and co-writer (with Rebecca Lenkiewicz) Pawel Pawlikowski assumes that the audience knows something of the Holocaust in Poland, and of the Stalinist show trials to consolidate state power that followed the Soviet victory in World War II.

The story, set in a dismally cold 1962, has Anna (Agata Trzebuchowska), an 18-year-old novice, about to take her vows. Her mother superior (Halina Skoczynska) summons Anna and tells her that she must first visit her Aunt Wanda (Agata Kulesza), her only living relative. Mother does not indicate what Anna can expect to learn from the encounter.

The life of the convent is the only existence Anna has ever known, since she was left there as an infant.

Wanda, a gruff, hard-drinking, chain-smoking former state prosecutor, wastes no time: "You're Jewish," she tells Anna as the two sit together at Wanda's kitchen table.

Anna's real name, Wanda explains, is Ida Lebenstein, and her parents were killed in a forest by people who were supposedly hiding them from the German invaders.

Brought up to be obedient, Anna/Ida takes all this in with a surprisingly calm air. She asks Wanda to help her find out more about what happened to her parents and their farm. Armed with her natural tenacity and -- as a communist insider -- with the rare luxury of a car, Wanda agrees.

What ensues is a road trip marked by Wanda's constant boozing, the pettiness of local authorities, and the dim atmosphere of a hotel jazz club where Ida eventually breaks out of her shell via a furtive romance with saxophonist Lis (Dawid Ogrodnik).

Complicating the search, her parents' farm is now owned by a family of Catholics who at first retort to Ida's inquiries, "No Jews ever lived here." At the same time, though, they ask Ida to bless their infant child.

Similar contradictions characterize the interaction between atheist Wanda and her believing niece. "What if you go there (i.e., her parents' former home) and discover there is no God?" she asks Ida early on. Later, returning from a night of dissolute partying to find Ida absorbed in prayer, Wanda snorts, "This Jesus of yours died for people like me!"

Wanda can't see what the church offers Ida, but the script doesn't necessarily support her view. Rather, it depicts Ida as a girl getting a late start on life, and her mother superior comes off as very wise for insisting that she see her aunt.

The tragic reality that Catholics participated in the slaughter of Jews is not concealed. But it's also shown that Stalinist Jews killed innocents as well.

A particularly touching scene has Wanda arranging, as a family tree, old photographs of relatives, presumably all victims of the Holocaust. Among the photos is one of Irena Sendler, the real-life Catholic nurse responsible for smuggling 2,500 Jewish children out of Poland.

In keeping with the complexities of the history with which he deals, Pawlikowski leaves his beautifully photographed film deliberately open-ended.

In Polish. Subtitles.

The film contains implied nonmarital sexual activity, a suicide and fleeting crass language. The Catholic News Service classification is A-III—adults. The Motion Picture Association of America rating is PG-13—parents strongly cautioned. Some material may be inappropriate for children under 13.

*****
Kurt Jensen is a guest reviewer for Catholic News Service.





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Joseph Calasanz: 
		<p>From Aragon, where he was born in 1556, to Rome, where he died 92 years later, fortune alternately smiled and frowned on the work of Joseph Calasanz. A priest with university training in canon law and theology, respected for his wisdom and administrative expertise, he put aside his career because he was deeply concerned with the need for education of poor children.</p>
		<p>When he was unable to get other institutes to undertake this apostolate at Rome, he and several companions personally provided a free school for deprived children. So overwhelming was the response that there was a constant need for larger facilities to house their effort. Soon Pope Clement VIII gave support to the school, and this aid continued under Pope Paul V. Other schools were opened; other men were attracted to the work and in 1621 the community (for so the teachers lived) was recognized as a religious community, the Clerks Regular of Religious Schools (Piarists or Scolopi). Not long after, Joseph was appointed superior for life.</p>
		<p>A combination of various prejudices and political ambition and maneuvering caused the institute much turmoil. Some did not favor educating the poor, for education would leave the poor dissatisfied with their lowly tasks for society! Others were shocked that some of the Piarists were sent for instruction to Galileo (a friend of Joseph) as superior, thus dividing the members into opposite camps. Repeatedly investigated by papal commissions, Joseph was demoted; when the struggle within the institute persisted, the Piarists were suppressed. Only after Joseph’s death were they formally recognized as a religious community.</p>
American Catholic Blog The Church’s motherhood is a spiritual reality that profoundly affects the lives of believers. In fact, the famous convert to Catholicism Cardinal John Henry Newman once said that it was through his reading and encounter with the Church of the Fathers that “I found my spiritual Mother.”

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