The Pianist (Polanski, 2002)

The Pianist (Polanski, 2002) - TSPDT #1338

A jewish pianist gets dragged into the horrific events of the Warsaw ghetto.

Extremely well structured in the sense that there is the "one good" Nazi in the end which gives some hope for humanity and bizarrely makes quite an optimistic piece.

Comparing this to Schindler's List there is an interesting difference in the choice the directors made how time progresses. Polanski's leaps in time seem rougher and he just touches certain events that were more drawn out in Spielberg's interpretation. In the Pianist there is a "rough" quality to the jumps, which helped to make the middle more interesting to watch - I remember I had some trouble in Schindler feeling slightly bored, maybe because I feel that Spielberg overexplains certain characters (mass audience vs mass audience europe?)

Kommentare

Beliebte Posts aus diesem Blog

Time of the Gypsies / Dom Za Vesanje (Emir Kusturica, 1988)

A supernaturally gifted boy from a Gypsy community is forced to survive in the world of crime. The intriguing qualities of Kusturica's films I've seen is his relentless depiction of basically crazy communities. Not just agreeably potty, they're usually outright interstellar-nuts. Here, he follows the fate of the rather harmless boy Perhan, that leaves for Italy in hope of a better future for him and his loved ones. There are some enormously interesting images in the film that kept ringing long after. The ritual in the river and the last scene in the church ruin (with a horse standing somewhere far back in the image...). After sketchily mapping out the scenes it is surprising how rigorously three-acty the screenplay is constructed. The first act seems quite long in terms of time and number of scenes, but there is also a lot of imagery spent on depicting life in this crazy universe, which makes the second part in Italy much more believable. And there is a certa...

Easy Street (Chaplin, 1917) - #DTC 1819

The tramp-turned-policeman is given charge to clean up notorious Easy Street. This Chaplin was pretty coherent in story, although one can still feel his extremely strong focus on single scenes, and his longer films always lack something of an arc for me. But here the whole movie is short enough to keep me posted on the story. The centerpiece for me was the chase routine, which seemed like an enormously tuned door-in/door-out scene. But the tempo is still amazing to watch even after a hundred years. I felt a lack of this pace in Lloyd's film and in other slapstick comedies from the era and later. The general perception of comedic rhythm seems to have changed substantially over time, but Chaplin's stuff seems to work great in all eras. His arch-enemy, the fascinating Eric Campbell is a delight to watch and works as the archetypical thug.

Choked (Joong-Hyun, 2011) - #Berlinale 2012 #koreablog

A young man is confronted with his mothers worsening debts. Things spiral out of control when she suddenly disappears. Most notable about the film for me was the insight into the Korean society - the filmmakers seem to suggest that basically everyone in Korea seems to live way over their means. The pressure on the son to get a "good life" in terms of owning an apartment of good size determines the happiness of his fiancee. The characters talk plainly about the subject of money to each other with a frankness that would not be seen in other societies. I wonder if this was a fiction or conversations can be that open in Korea. Something I've noticed recently in some Asian films with a similar style is a sort of liberation of the genre, I cannot really describe it any better. At any point during this film I expected it to turn funny, bloody, dramatic or simply weird. And to a very slight degree it really turns this or that direction. Maybe it was just me, but t...

Yogi's Movie Consumption Blog

Dieses Blog durchsuchen