War of the Worlds: Next Century, The
Entry updated 6 July 2026. Tagged: Film.
Polish film (1981; original title Wojna światów – Następne stulecie). Zespol Filmowy "Perspektywa". Directed and written by Piotr Szulkin. Actors include Mariusz Dmochowski, Krystyna Janda and Roman Wilhelmi. 92 minutes. Colour.
We are informed that at the close of the twentieth century (see Near Future), Earth was honoured by a visit from an advanced Martian civilization (see Mars), whose arrival was greeted with a hearty, tumultuous welcome; they generously choose to share their knowledge with the people of Earth. The Martians are short and rotund (at least, their silver puffy jackets make them look so).
Iron Idem (Wilhelmi) hosts an "independent news" television show; on this occasion, after he dons his wig, he's handed a new script which declares "twelve days ago mankind ceased to be alone" and reports "the blood group marking operation" is running smoothly (the Martians seem very keen on our blood), as well as putting a positive spin on the importance of subservience. Idem is unhappy and complains to his boss (Dmochowski), who points out the programme is broadcast live: he could have said what he wanted – why didn't he, was he afraid? Idem says it was a "sense of responsibility", the boss responding "responsibility, fear, discipline ... nothing to be ashamed of, these are welcome virtues". Later Idem's wife (Janda) is dramatically kidnapped – chainsaws are used – to ensure he shows more love for the Martians. When an official criticizes the Aliens, Idem asks whether they are a provocateur. They say yes, but seem grateful he did not choose to inform on them (see Paranoia). Though bitter, Idem continues to read the news: there is none from the rest of the world, apparently, because all eyes are on this country. Also, street accidents seem commonplace, explained away as the Martians' unfamiliarity with the traffic laws. Idem ends up evicted and finds himself at a flop house whose indigents are only fed if they give blood. Most people are afraid and thus obedient, whilst cars drive round the streets with their tannoys announcing "Everything is all right ... do not resist." and the security forces brutally impose order.
A concert celebrating the Martians is to be broadcast and Idem is ordered to be a speaker (he is also told of a rumour the visitors are leaving the next day); en route he takes the opportunity to murder a lone Martian. At the concert he asks the crowd: "Do you know why you like me? The more idiotic my programs, the wiser you felt." He accuses them of looking for convenient truths and accepting only that which reinforced their beliefs, considering passiveness a virtue and doing as they're told. His boss is unconcerned, confident the audience will quickly forget what was said; he is more focused on shooting footage for the departure of the Martians next day – angry mothers standing over the bodies of their children, shaking fists at the Spaceship. Meanwhile, a rebel is manipulated into bombing the television studios, but the explosive is detonated early so he can be filmed dying and called a hero who tried to blow up the spaceship; Idem, on the other hand, is prosecuted as a collaborator and undergoes a show trial where his concert speech is edited to incriminate him; he also learns his wife is dead. Found guilty, his execution is televised in what looks like an aircraft hanger: he's tied to a post and we see events as is and as shown on the television. The firing squad shoots and on the television screen he collapses, a scene shot previously with an actor. Idem looks bemused, then wanders from the post and stares at the screen with "his" dead body on it, breaking the fourth wall to look at the camera. He then walks to the large hanger doors, opening them and disappearing into the wall of bright light/white smoke revealed.
This film could be about a brief Martian Invasion in which the government colluded with the oppressors, then – once they realized the invaders would soon be leaving – arranged for scapegoats and a narrative that absolved themselves; but a case might be made for the Invasion having been faked by the government: they and not the Martians are the Vampires, albeit metaphorical. The War of the Worlds: Next Century is concerned with the use of the Media Landscape – specifically television – to shape people's opinion and render them obedient (see Perception), but also condemns the population's complicity in this; though state-imposed fear is clearly a major factor in their docility. The film is darker than Szulkin's previous Golem (1979), with a greater sense of dread (see Horror), though there is also occasional Humour provided by the Martians. The opening announces: "This film is dedicated to Herbert George Wells and Orson Welles": Welles' 1938 Radio play The War of the Worlds, based on Wells's The War of the Worlds (April-December 1897 Pearson's; 1898) is the greater influence, as an example of people's credulity regarding the media (though the actual number of people believing the broadcast was real seems to have been exaggerated, the media's subsequent perpetuation of the story that there was a major panic hardly undermines Szulkin's point!). After the film's premiere in 1981, Poland's government promptly banned it, as it was patently a commentary on contemporary Poland (see Politics). Early scenes showing posters in English to suggest it was set in Britain clearly fooled no one; subsequent events in Poland enabled it to receive a theatrical release in early 1983. The film won several awards, including Best SF Director for Piotr Szulkin at the 1984 Eurocon Awards. [SP]
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