The Pianist

The Pianist is an incredible film in many aspects. Roman Polanski's account of the survival of the pianist, Wladyslaw Szpilman, is a document about how one man can overcome the worst possible situations in a world gone completely mad around him.

The only fault one can find with the adaptation of Mr. Szpilman's story by playwright Ronald Harwood, is the fact that we never get to know the real Wladyslaw Szpilman, the man, as some of the comments made to this forum also have indicated.

There is a very interesting point raised by the the pianist's father who upon reading something in the paper, comments about how the Americans have forgotten them. Well, not only the Americans, but the rest of the world would not raise a finger to do anything for the people that were being imprisoned and made to live in the confined area of Warsaw. The exterminating camps will come later.

What is amazing in the film, is the frankness in which director Polanski portrays the duplicity of some Jews in the ghetto. The fact that Jews were used to control other Jews is mind boggling, but it was a fact, and it's treated here matter of factly. Had this been made by an American director, this aspect would have never surfaced at all. Yet, Mr. Polanski and Mr. Harewood show us that all was not as noble and dignified as some other films have treated this ugly side of war.

Wladyslaw Szpilman, as played by Adrien Brody, is puzzling sometimes, in that we never get to know what's in his mind. He's a man intent in not dying, but he's not a fighter. He accepts the kindness extended to him. He never offers to do anything other than keep on hiding, which is a human instinct. He will never fight side by side with the real heroes of the ghetto uprising. His role is simply to witness the battle from his vantage point in one of the safe houses across the street from where the action takes place.

Adrien Brody is an interesting actor to watch. As the pianist of the story he exudes intelligence. There is a scene where Szpilman, in one of the safe houses he is taken, discovers an upright piano. One can see the music in his head and he can't contain himself in moving his fingers outside the closed instrument playing the glorious music from which he can only imagine what it will sound in his mind.

The supporting cast is excellent. Frank Findlay, a magnificent English actor is the father of the pianist and Maureen Lipman, another veteran of the stage, plays the mother with refined dignity.

In watching this film one can only shudder at the thought of another conflict that is currently brewing in front of our eyes. We wonder if the leaders of the different factions could be made to sit through a showing of The Pianist to make them realize that war is hell.

This is a truly heart-wrenching story of one man whose family gets perished in the Holocaust and about his survival over solitude, deprivation, starvation and terror while in hiding during the Nazi occupation. In my opinion it is one of the finest depictions of the holocaust. This movie came close to Schindlers list in depicting the horrors of Holocaust. Brody puts in a marvelous and utterly touching performance. The story depicts the emotional and cultural breakdown of persecuted Jewish community as Nazi policy tightens around them. Excellent acting by Brody.

The Pianist tells the story of such a man in war time Poland, played by Adrien Brody, who from start to finish sees his life literally getting worse and worse and worse- starts off with new rules from the Nazis, then the stars on the arms, followed by the Warsaw ghetto, and while there he could play in the restaurant, that too soon ended, as the trains arrived and took his family and anyone else he knew away. During this he narrowly escapes, and from then on the film in a sense almost becomes not exactly a holocaust film, but more like a cross of that as the element and the basic structure of something a-la in Cast Away: this includes stretches of scenes showing Brody simply trying to keep out of view of the Germans, either in a small apartment provided by helpful Polish Christians/Jewish resistance, or as a scavenger in the abandoned sections of the ghetto, all while feeling the old rhythm of the piano in his head and fingertips.

This is the kind of magnificent filmmaking that shows a director not only being as true to the story given to him (that of Painist Szpilman, based on his autobiography) but to his past as well- Roman Polanksi faced similar conditions as a boy in the early 40's, and has found the best line to show, never crossed or mis-stepped, in representing the characters and the period. There aren't any hints of tightened suspense, no clues as to where the film could veer to, it just is. The big difference to be seen between a film like this and Schindler's List is not just in the people and situations (Schindler's List was a film about two people, Schindler and Goeth, in the foreground while the Pianist is a total first person tale), yet also in the filmmaking qualities being here surely European. And while the accents on the Polish-Jewish actors sounds a bit too British, that is quite forgivable considering the scope of the project (thank heavens he didn't put in English speaking Germans).

In conclusion, Brody turns in a superb performance, and this indeed is in with Polanski's best, a deserved of 2002's Palme D'Or. Great music too. A+

The Pianist is the true story of Wladyslaw Szpilman, at the time Poland's most acclaimed pianist whose life is transformed during the Nazi occupation of Warsaw beginning in 1939. The film spans several years and maps his many personal trials in addition to providing the perspectives of his family, rebel factions and sympathizers.

Brilliantly directed by Roman Polanski and starring an amazing Adrien Brody, The Pianist is bound to garner comparisons to Schindler's List, for obvious reasons. However similar the subject matter, the approach is different. While Schindler's List was filmed in a beautiful, crisp black and white that offered many incredible images, The Pianist was filmed with almost muted color. Schindler's List featured what has been argued as a complicated hero. Oskar Schindler did save many Jews, but not without battling his own materialistic demons first. The Pianist's Szpilman is a sympathetic character throughout. His plight was desperate, and the demons he fought were over his own guilt in surviving a fight that eventually turns into a primal will to live.

Polanski does not spare the viewer any grief with his film. The horrific scenes between the Nazis and the Warsaw Jews were more terrifying and horrible than any horror/suspense movie I have seen in some time, possibly ever. The humiliation and complete loss is wrenching. In several scenes, Jews are lined up in the middle of the night and subjected to either torture or death. In one case, a woman asks of a Nazi officer, "What will happen to us?" and is promptly shot point blank in the head. The camera does not flinch or subdue any of these atrocities.

A mention must be made of Brody's performance. Having only previously seen Brody in two other films, Spike Lee's "Summer of Sam" and Terrence Malick's "The Thin Red Line" (a part that was supposed to be his launch into stardom before his part was unfortunately cut drastically) I knew his potential was great. After his Oscar win, I viewed this movie with more criticism than I normally would have and he certainly did not disappoint. He transcended my expectations. His physical transformation was amazing, but more importantly, he conveyed the sorrow of this man shockingly well - in both verbal and non-verbal contexts. It will be very interesting to see what kind of opportunities this role will afford him, and the kinds of roles he will accept.

Something worth mentioning is the affect this movie had on the audience with whom I viewed this film. Normally, when a film ends, the regular hardcore filmsters like myself will stay and watch the credits in their entirety. The rest of the audience stands up and leaves, usually to the chagrin of the remaining enthusiasts. This was one of the few times I have seen a film at a theater where not one person stood to leave during the final credits. It wasn't until the house lights came up at the end did people begin to disperse. Personally, I hightailed it out of the theater the second the lights came on because not only was my face a mess from crying during the film (Tammy Faye comes to mind) but I had this overwhelming need for an emotional release, so when I reached my car I sat and wept for about five minutes. It has been years since I have watched a film that upset me to that extent. Conversely, while discussing this film with my brother, (someone who loves movies as much and has similar tastes as I do) he mentioned that while he thought the movie was excellent, he wasn't as profoundly emotionally effected as I was. After thinking about this for a couple of days, I realized the difference: The music. As a classical music enthusiast and erstwhile musician, the thought of not being able to enjoy, much less play the music you love is a tragic one. Then the emotional outpouring that comes when you return to it - there aren't words to describe how intense that is. Not having the same appreciation for this musical genre, one will be able to sympathize with the physical and emotional tribulations, but perhaps not in the musical sense.

The Pianist was truly an astonishing film. I was riveted from start to finish and so emotionally affected that I couldn't even consider writing a review until a week later. Having said that, I am filing this away with my list of movies which include Schindlers List and Philadelphia, as films that I love but cannot rewatch for a long time after due to their intensely emotional content.

--Shelly

Polanski has depicted the gory details of the holocaust without much restraint. But, the most wonderful aspect of the film is that the director has not lost focus of his story and instead of focusing too much on the holocaust horror he has weaved the true-life narrative of survival around devillish happenings.

Every single act of escapade Szpilman goes through is depicted like a drop of water on a barren desert. However, the Oasis in the driest desert comes in the end and it is here that Polanski captures the essence of human emotion. I had this very strong urge of jumping into the theater screen and magically adopting a character in the movie and doing something about the helplesness portrayed so convincingly.

Overall, Polanski has given a stunning visual narrative of the cold war. Survival indeed is a privilege though it is taken for granted today. Performances by Brody, Kretschmann deserve applause.

Pawel Edelman's camera work is moving and he has brilliantly captured the dark sadness in the visual canvas in an effective way. The lighting is amazing. Pre-dawn shooting schedule could have helped a great deal.

Hervé de Luze's editing work has ensured that the narrative does not slip away from focus. Most notable is the scene where the human bodies are lit on fire and the camera raises to show the smoke. The darkness of the smoke is enhanced and is used effectively to fade the scene out.

The scene where Brody's fingers move as he rests his hands on the bars of the tram handle only goes to show the brilliance of Polanski as a film-maker.

Great film that will be in the running for this year's Oscars. I will give it a 9 Out of 10.