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==Artistic recognition==
[[File:Olbrychski wajda.jpg|thumb|right|Andrzej Wajda (center), c. 1970]]
The 1970s were the most prolific artistic period for Wajda, who made over ten films: ''[[Landscape After the Battle]]'' (1970), ''[[Pilate and Others]]'' (1971), ''[[The Wedding (1972 film)|The Wedding]]'' (1972) – the film version of the famous Polish poetic drama by [[Stanisław Wyspiański]], ''[[The Promised Land (1975 film)|The Promised Land]]'' (1974), ''[[Man of Marble]]'' (
Wajda continued to work in theatre, including ''[[Play Strindberg]]'', Dostoyevsky's ''[[The Possessed (play)|The Possessed]]'' and ''Nastasja Filippovna'' – Wajda's version of ''[[The Idiot (novel)|The Idiot]]'', ''November Night'' by Wyspiański, ''[[The Immigrants]]'' by Sławomir Mrożek, ''The Danton Affair'' or ''The Dreams of Reason''.<ref>{{Cite news | url=https://www.nytimes.com/movie/review?res=9804E0DC1F38F93BA1575AC0A965948260? |title = Movie Reviews|newspaper = The New York Times|date = 13 December 2019}}</ref>
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Wajda's later commitment to Poland's burgeoning [[Solidarity (Polish trade union)|Solidarity]] movement was manifested in ''[[Man of Iron]]'' (1981), a thematic sequel to ''The Man of Marble'', with Solidarity leader [[Lech Wałęsa]] appearing as himself in the latter film. The film sequence is loosely based on the life of [[Anna Walentynowicz]], a hero of socialist labor [[Stakhanovite]] turned dissident and alludes to events from real life, such as the firing of Walentynowicz from the shipyard and the underground wedding of [[Bogdan Borusewicz]] to [[Alina Pienkowska]].<ref>Michael Szporer, [http://www.barnesandnoble.com/w/solidarity-michael-m-phd-szporer-phd/1110913404 Solidarity: The Great Workers Strike of 1980]. Lanham, MD: Lexington Books, 2012</ref> The director's involvement in this movement would prompt the Polish government to force Wajda's production company out of business. For the film, Wajda won the [[Palme d'Or]] at the [[Cannes Film Festival]].
In 1983, he directed ''[[Danton (1983 film)|Danton]]'', starring [[Gérard Depardieu]] in the title role, a film set in 1794 (Year Two of the [[French Republican calendar]]) dealing with the [[Reign of Terror|Post-Revolutionary Terror]]. Made against the backdrop of the [[martial law in Poland]], Wajda showed how easily revolution can change into terror and start to "eat its own children."<ref>{{cite journal|last=Szporer|first=Mieczyslaw [Michael]|title=Andrzej Wajda's Reign of Terror: Danton's Polish Ambiance|journal=Film Quarterly|date=Winter 1983–1984|volume=37|issue=2|pages=27–34|doi=10.2307/3697387 |jstor=3697387}}</ref> For this film Wajda was honoured with the [[Louis Delluc Prize]] and a [[César Award for Best Director]]. In the 1980s, he also made ''[[A Love in Germany]]'' (1983) featuring [[Hanna Schygulla]], ''The Chronicle of Amorous Incidents'' (1986) an adaptation of [[Tadeusz Konwicki]]'s novel and ''[[The Possessed (play)|The Possessed]]'' (1988) based on [[Fyodor Dostoyevsky|Dostoyevsky]]'s novel. In theatre he prepared an interpretation of Dostoyevsky's ''[[Crime and Punishment]]'' (1984) and other unique spectacles such as ''Antygone'', his sequential ''[[Hamlet]]'' versions and the early 20th-century Jewish play ''[[The Dybbuk]]''. In 1989, he was the
==Career after 1990==
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[[Category:Recipients of the State Award Badge (Poland)]]
[[Category:20th-century Polish screenwriters]]
[[Category:
[[Category:20th-century Polish male writers]]
[[Category:Home Army members]]
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