Two new adaptations of Polish classic The Doll premiere in cinemas and on Netflix

Two adaptations arrive in September

Polish audiences received two competing screen adaptations of Bolesław Prus's 19th-century novel The Doll within a two-week window in September 2026. A television series directed by Paweł Maślona debuted globally on Netflix on 16 September, featuring Tomasz Schuchardt as Stanisław Wokulski and Sandra Drzymalska as Izabela Łęcka. Exactly two weeks later, on 30 September, a feature-length cinematic adaptation directed by Maciej Kawalski arrived in Polish cinemas, starring Marcin Dorociński and Kamila Urzędowska in the lead roles alongside Marek Kondrat as Ignacy Rzecki.

Contrasting interpretations of the novel

The two productions take fundamentally different structural approaches to Prus's classic narrative. Kawalski's cinema version, written alongside Łukasz Światowiec, stays close to the original storyline while presenting Wokulski as an athletic, capable former insurgent. In this version, Wokulski fights with a rifle and knife during the war in Bulgaria, securing the 300,000 rubles he brings back to Warsaw through direct physical risk rather than commercial reliance on the Russian merchant Suzin. Dorociński portrays him as an enterprising and sympathetic figure whose composure completely collapses whenever he is paralyzed by his romantic infatuation with Łęcka, while Schuchardt creates a heavier figure who channels emotional outbursts and profanity into theatrical comedy.

In contrast, Maślona's Netflix series, co-written with Paweł Demirski and Jagoda Dutkiewicz, deliberately alters the book's narrative architecture. The series cuts several secondary characters, including Helena Stawska, Baroness Krzeszowska, Countess Joanna Karolowa, Geist, and Węgiełek, while omitting Rzecki's diary, Wokulski's trip to Paris, and his suicide attempt. In their place, the writers add author Eliza Orzeszkowa and a character named Zofia Dobska, introduce a criminal plot, depict Izabela fleeing, and introduce a romantic relationship between Rzecki and Mariana. The adaptation also rewrites scenes such as the duel with Krzeszowski and the farewell on the train, leading to an ending that inverts Prus's original resolution. Both productions also modernize Izabela Łęcka, departing from earlier screen portrayals by Beata Tyszkiewicz and Małgorzata Braunek to present women outside traditional historical archetypes.

Dorociński initiates dialogue with Schuchardt

Following the debut of the television series, Dorociński watched the competing adaptation and reached out directly to both Maślona and Schuchardt. Dorociński noted that taking on Wokulski after screen portrayals by Mariusz Dmochowski in Wojciech Has's film and Jerzy Kamas in Ryszard Ber's television series carried immense pressure, particularly during the film's premiere at Teatr Wielki in Warsaw. Speaking to Rzeczpospolita, Dorociński described his reaction to Maślona's work.

I immediately called Paweł. And Tomek Schuchardt. I even had this idea that Tomek and I could give joint interviews.

Dorociński explained that joint public appearances would highlight two legitimate artistic visions of the same literary character rather than simple commercial rivalry.

So that we could talk about two perspectives on Wokulski. Because the great thing is that we are discussing a book that has survived a significant piece of history.

Dorociński added that he re-read Prus's novel before filming and aimed to convey Wokulski's dedication, industry, and unconditional friendship to younger viewers, emphasizing his on-screen dynamic with Marek Kondrat as Rzecki.