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WELL,you can defined this great film just by one particular scene: the old man is rich,have good social position and took the boy on board to play the role of his mentor.However the young man was dragging the beautiful knife,which was_as he claimed_ the most important thing in his life.The guy was always playing the knife between his fingers and the old man was jealous about that.So when the boy went inside the yacht leaving the knife,the old man took the knife and tried to do the same.Suddenly the young appear and saw this.The only way for the old man to get away with some honour was to allow the boy do the play:he played the knife between the old man's fingers,looking straight into his eyes.Well the lady at the same time was swimming using a funny rubber cocodrile.So, imagine this beautiful scene with the knife,all the tension and suddenly we hear the woman shouting:'Andrzej, Andrzej,the cocodrile is making the bubbles',huh,when I was in the cinema the whole audience burst laughting after hearing that!. The woman stays in the background, just think why? There's another great funny shot when the woman lays there for a sunbathe with her small bikinis,well, her breast dominates the scene!. is the waving movement of the yacht who creates the sensual scene!.

Of course this scene was part of the longer plot ,the critics described this `knife scene' as the most famous and symbolic scene in all of Polanski films..Zygmunt Malanowicz,the actor who played the part of the young man said that he practice a lotnfor those scenes,polanski was afraid if he was prcticing long enough,finally everything was Ok.As Leon Niemczyc,the actor who played the mature role said" Malanowicz only gave me sligh scars'.The idea of the film was the strange competition between this two men.the jury and the prize was the woman.Polanski said he needed a actress that looked plain and normal in ordinary dress but intriguing in bikini!.

Polanski was not only interested in this kind of personages,he likes the relantionship between' the master and the servant' The domineering and the repressed ,as we can see in his short film' The Fat and the Lean' (1961, B&W, 15mins) or in features like Knife in the Water (1962); Cul-de-sac (1966);Dance of the Vampires(1967) etc.

Polanski's first feature. Hmmmmm..... This film is a study of macho rivalry, sexual tension and establishing who is the alpha male. I felt strangely unfulfilled after the film, I guess I was expecting something darker or more serious to happen, but it never did.

Don't get me wrong there is some excellent acting by the Polish cast as well as some innovative camera work. The tension between the rich, older Andrzej and the exuberant, free spirited young man (you aren't told his name) is evident from the first time they meet. This carries over on to the boat where Andrzej takes every opportunity to play captain, ordering the young man around in an attempt to demean and humiliate him. Eventually things turn to hostility with the young attractive wife trying to placate the two.

Not bad for a first feature, a good springboard for Polanski as we all know he went on to better things from here.

There is nothing more thrilling than discovering a natural filmmaker for the first time. There are only so many, and you can only have menarche once. Its an introduction into another life.

I first saw this in 1965 at the Orson Welles Cinema near Harvard Square. We were told it was made behind the backs of Iron Curtain thugs, only surviving because of international attention. (I wouldn't meet Tarkovsky or Kieslowski until later.) And that it was made by the fellow who had made the striking "Repulsion," which at that time was anticipated but yet unseen in the States.

I've since learned some striking things: that both Polanski and his co-writer wanted to play the hitchhiker and indeed it is Polanski's voice. And that the mistress who seems only half alive was in fact played by a non-actress they found by looking at swimming pools. Also that the situation was suggested by a long planned and discussed Orson Welles project ("The Deep") that was started after this and never completed.

The writing is good of course, especially the central image the title denotes, but the camera finds the perfect place always. It is like Altman's camera (after this) that discovers the action rather than, say Spielberg's where the action is obviously happening in such a way to be cleanly seen by the camera. And so much harder on a boat!

But the interesting thing about such an introduction to a filmmaker is the relationship that follows: we know certain things about how he thinks and sees. We expect the conversation to continue and mature over the years. And what a rocky ride this man has taken us on, through perfectly created worlds (in which I include "Ninth Gate") but also through pure dreck and rank sentimentality (both of which tag "The Pianist").

Sometimes he's internal to the narrative, even the charmed actor. Sometimes he is outside the narrative, pulling strings (as with this film) but sometimes it is clear he never got out of bed.

As with Kubrick and so many others, you really must start at the beginning, which essentially means here.

Ted's Evaluation -- 3 of 3: Worth watching.

Devastating and beautiful early film from talented director Roman Polanski...but 'beautiful' in a sad, melancholy sense. Rarely have I seen a picture which so vividly captures the wonder of weather (gray and drizzly skies and choppy sea water, illuminated suddenly by a burst of sun rays). Sure, the film is in black-and-white, however that foreboding sky actually becomes a character in the plot involving a couple out for a boating weekend who pick up a hitchhiker and invite him along on their trip. Not a whole lot of story (in the conventional sense), though both Jerzy Lipman's amazing cinematography and Krzysztof Komeda's jazzy score make the journey a worthy ride which builds in suspense and a creepy, muted kind of ambiance. Polanski's eye is unerring, but don't expect him to give into a big pay-off. The narrative is pretty much based in reality--it's grounded--and is without major outbursts, violence or melodrama. *** from ****

Polanski's first feature, on paper, sounds like nothing more than a run-of-the-mill claustrophobic thriller set on a boat - a couple takes a loner on board, you figure out the rest. 'Dead Calm', 'The Deep', etc etc etc.

Instead, 'Knife In The Water' is an agonisingly tense look at male posturing & ego, the husband & hitch-hiker constantly challenging each other in every possible way - sailing prowess, games of fiddlesticks, knife throwing & just generally strutting about. There's almost never a single moment where the two aren't trying to trump each other, & one gets the impression that it's not even to impress the girl, so much as themselves. As the film progresses, the tension mounts & tempers fray.

In a Hollywood film, this would build up to a dramatic climax of violence & catharsis, accompanied with thunder & lightning. Polanski doesn't let us off the hook that easily - things get rough, but the games continue, right until the very end of the film.

Shot in black & white, with a cast of three, & virtually one small location, 'Knife In The Water' puts bigger films to shame. No stars, no pyrotechnics, no special effects, probably very little budget, & it's completely riveting from start to finish.

It was nominated for the Best Foreign Film at the Oscars - the first feature of a young Polish film student - & rightly so.

A brilliant start to a brilliant career.