Alternate Best Actor 1990: Wojciech Pszoniak in Korczak

Wojciech Pszoniak did not receive an Oscar nomination for portraying Henryk Goldszmit pen name Janusz Korczak in Korczak.

Korczak depicts the painful time leading up to the deportation of Jewish orphans in the Warsaw Ghetto.

Wojciech Pszoniak plays the writer, teacher and doctor who was best known as Janusz Korczak. The film isn’t about his whole life but rather coming in towards its tragic end as we follow him attempting to navigate the increasingly hostile nature of the occupiers while attempting to create some sense of normalcy for his chief priority, the orphans. Pszoniak’s performance is one that frequently is in contrast to the material at hand that is representative of Korczak’s approach towards the orphanage which is one steadfast support. Pszoniak within these scenes very distinctly presents a combination of intense devotion and endearing warmth as we see Korczak interact with the various orphans in the film. Pszoniak doesn’t put a lot on it, rather just bringing this quiet earnestness within every word he speaks towards them where there is such care about Korczak to each and everyone. Pszoniak granting the purest sense of the man who genuinely wants to help them, truly cares whether that is going about teaching, taking care of them, or attempting to be there as they face literal genocide. 

Pszoniak’s performance provides a combination of qualities though within the warmth which isn’t at all one note, though quite potent even within the idea of purity. As what Pszoniak is able to naturally embody and realize dynamically is the various roles that Korczak does need to take with them. There are the moments where he frankly is that of the storyteller, the man giving life to imagination for them and Pszoniak brings this spirited quality in every word of the man where you are granted the sense in his performance both his enthusiasm to encourage the children but also how much any joy they have seems to fill him with a similar joy. Pszoniak is as effective though when dealing with the older children where he finds a different quality of the teacher where the wisdom is never stern but just calmly more direct. Pszoniak crafting that sense of authority in these moments though an authority that is strictly benevolent in every moment and where he exudes that optimism even as he is guiding his children through some of the most traumatic situations. Pszoniak’s work provides a sense of comfort within the film even when the ever growing darkness surrounding our characters is creating a penetrating dread for the future. 

Korczak is not living within a fantasy as he tries to provide normalcy for the children and tries to comfort them best he can, rather we see that he very much is aware of the reality. Pszoniak’s work is remarkable in a moment relatively early on where he purposefully announces his Jewish heritage, quite frankly in a situation that in no way benefits or protects him. Pszoniak delivers these words in a combination of exasperation towards the callous actions of others but also a passionate conviction that there is absolutely nothing wrong with stating this fact. Pszoniak is able to present someone who firmly lives by his code of morality and even within horrible conditions will still stand up for what he believes in. Pszoniak’s performance delivers the weight of that conviction within his eyes and his manner as just a man straightforward in that directness. He shows that Korczak isn’t here to present some strategy to confuse the abusers, rather just a man who will be as good of a man as he can be even when it is clear he is living in a situation that is defined by moral decay. 

The power of Pszoniak’s performance is creating a convincing man who makes the choice essentially to sacrifice himself in order to offer just a few more moments of comfort for the orphans. We see as the situation becomes more dire and within Pszoniak’s reactions there is a real sense of dread even within Korczak where his awareness of the increasing threats and violence is readily apparent. Pszoniak presents the man coming into the situation with a potent empathy. Pszoniak makes this the overarching feeling in every instance of dealing even with the violence around him and even against him at times. Pszoniak’s manner is that of the man seeking to quietly maintain his dignity while doing his best to serve others. When we get the moment explaining that he will not try to escape so he can be with the orphans Pszoniak speaks these words not with conflict but this most assured determination who simply could not see going about his life any other way. An idea that is fundamental to the final sequence of the film where Korczak calmly leads the children as they are being taken to a train which will bring them to an extermination camp. Pszoniak throughout the sequence isn’t portraying the future but rather the moment of providing a final bit of paternalistic protection in his assured and determined manner. Although we know the truth, one can see the calming presence of Korczak as Pszoniak moves like a shepherd guiding his flock. Wojciech Pszoniak delivers a very good and moving performance where he provides an earnest portrait of a man choosing a pure path within a wretched world.