From the speeches of the main characters Wajda has removed everything that could demonstrate Strindberg's psychological depth, everything that could lead to the inevitable opposition of man and woman, to the confrontation of the stronger and the weaker and the fascination with force, experienced by the weaker side (...) What remains is a rather insipid plot about the downfall of a young lady and unfair social conditions.
It would seem, however, that some of the expurgated problems sneak in again: the pageant of peasants, a scene sugestive in itself, achieves the dimension of an orgy, far beyond the things happening on the stage. It belongs to a completely different poetic order...
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