First of all, I am not delighted with Ogniem i Mieczem. But I think, it is a decent piece of adventure movie, which by the way, can also teach a bit about Poland's and Ukraine's history. There is one great thing, that Hoffman did - he modernized original Sienkiewicz's book, which was written in 1884 in very different circumstances. At that time, Poland was not existent country for almost 100 years, and the goal of Sienkiewicz's Trilogy was to raise Polish morale. That's why the Cossacks in the book are just enemies, evil and cruel, and their cause is not just, while the Poles (and loyal Ukrainians, like Prince Jeremi Wisniowiecki) are good, less cruel, and their cruelty is justified. Hoffman made a movie for modern times instead, when Poland and Ukraine are independent neighbors and they have to cooperate and built friendship among citizens (I must add here, that last local slaughters between citizens of two nations took part during World War II). In a movie, we see also Ukrainian point of view. Of course, the movie still remains Polish-centric, but it also shows Cossacks as people, who had they cause as well - what was guaranteed by engaging the Ukrainian actor (Bohdan Stupka) as Khmelnytsky.

Of the cast, Zbigniew Zamachowski as a fencing master Michal Wolodyjowski is disappointing, but I think he must have been under pressure of comparisons with highly praised Tadeusz Lomnicki, who played this character in earlier other two parts. And yes, Scorupco was a bad choice - after several days of marching through villages and bushes, she still looks like a cosmetic advertisement ("Despite all these things, my make-up still remains intact"). On the other hand, Daniel Olbrychski, playing a minor part of Tukhay-Bey, reached the mastery in my opinion.

A great film epic from Poland, based on a famous novel by Nobel laureate Henryk Sienwiewicz, taking the 17th Century Ukrainian uprising by Bogdan Khmelnitsky against the Polish Commonwealth as a background, with Poles, Ukrainians and Tatars fighting against each other. My knowledge of Polish history is weak, so I cannot tell how faithful this movie is to the real events it depicts, but as an epic it never fails to entertain. Since this is a Polish film, Poles come naturally the best. Some may complain that the Ukrainian Cossacks are depicted as ignorant brutes, but they are nonetheless great fun to watch. Worst depicted are the Crimean Tatars, as oriental despots (and pederasts, as well, since the Khan is shown as an obvious boy lover). Though this was one of the most expensive films in Polish history, it took just small change to made in comparison with similarly themed Western movies, and the results for the money are impressive. The battles depicted here are great, and the filmmakers took care to involve many people in them, not just a few (presumably, without any aid from computer imagery). There is a great acting, as well (Izabella Scorupco as the beautiful Helena, Alexandr Domogarov as the impulsive Bohun, Ruslana Pysanka as the witch Horpyna, Krzystof Kowalewski as the comic relief Zagluba).

Enormously tasteful, colorful and dynamic movie, OIM is a reward for all the master's admirers, and a movie certainly more interesting than most of today's Hollywood's epics. An amazing epic, fast—paced and suspenseful, the tale of the fights between Polish, Cossack and Tartar armies, in the 17th century Polish kingdom, OIM was given a sexy twist as well.

The sexually stunning Izabella Scorupco is the orphan Helena; Michal Zebrwoski is the stud; Stupka is the Cossack Hatman; Olbrychski, a Polish star, plays Tuhaj—Bey. The named Izabella—the most conspicuous person in the movie—for obvious reasons—she's not only extremely sexy, but glamorous as well.

Some shockingly violent scenes give the movie a healthy realism.

The intricacies and details of the plot ask for some previous familiarizing with the novel.

The Polish cinema belongs to the league of the best five European cinemas (with the French, Russian, Italian and English).