“Everything in this story is true-even the dreams,” notes the prologue of Wajda's raucous adaptation of a classic Polish play that, written in the early 1900s, spoke volumes to eternal questions of social division, the intelligentsia, and revolution. A wedding between a poet and a peasant provides the setting, dizzyingly filmed by Wajda with the camera literally in the middle of a whirl of stomping dancers, screaming singers, and babbling drunkards of all persuasions. “Barefoot for a month and feeling fine!” chortles one artist who has married into the rural class. But as the evening goes on, cracks open, and distrust and fear seep in. And while everyone remains stuck, dancing in circles or pontificating in corners, new ghosts and visions emerge: of peasant revolutionaries and forgotten lovers, horses in the fog and death in the gloom. The film's music, “moody like the pulse of a sick man,” as Wajda said, further contributes to this pulsating work.