向公众呈现导演罗曼·波兰斯基丑闻和个人悲剧的传记纪录片。
波兰斯基参与的一部小短片
What a surprise, and what fun! Although I remember seeing promotional shots of this movie back in the 70s, hearing no more about it, I eventually decided it must never have been made. But, here it is in all its craziness. The beginning is rather edgy as the delectable, Sydne Rome is almost gang raped before the action swings into slapstick and she escapes, albeit with ripped t-shirt. This is as fully dressed as she ever is in this ending up fully nude and leaving the madhouse as quickly as she e...
I can sort of understand the confusion of anyone watching that film who is not familiar with the era and the subject matter. For those - movie makes no sense whatsoever making. Causing annoyance for the time wasted. One of the reasons (and there are few) I have totally loved the movie is that it hits the spot. It depicts something that is no longer there. The grotesques are right on the money. From the trashy metal band (that is surprisingly still around with the same stupid look sporting lack o...
Lamp, The (1959)
** 1/2 (out of 4)
Surreal film from Roman Polanski about a doll maker. There's really no "story" here but instead we get various strange images. The images are nice but overall the film somewhat drags.
When Angels Fall (1959)
** 1/2 (out of 4)
An elderly woman works a lousy job but she's capable of seeing things like no other. This short from Polanski has a lot of good moments but it really doesn't work well enough for the running time. The use of color was nicely done ...
Evidentally this is sort of a "lost" film. The DVD copy is half in color, and half in tinted black and white. No previous comments on IMDb or Netflix. An astounding circumstance for a film of this high quality by a known director.
This an iconic tale of a beautiful horse that has several owners, sort of a mixture of "Black Beauty" and "The Red Shoes". There's an interesting love triangle among the humans, set in early World War II, I think. The white of a bride's dress is paralleled with the h...
As a carbon copy of a standard French New Wave film ( closer to François Moreuil than to François Truffaut ), "Do widzenia, do jutra" benefits from the same virtues and suffers from the same vices as the model it takes its inspiration from.
Among the qualities the fresh, unaffected tone of the actors who seem to be what they are in life. On the other hand, the streets and sites of Gdansk are photographed so well and so close to everyday reality that the viewer is made to feel like booking a gui...
may surprise those who know him best from Rosemary's Baby, Chinatown and The Pianist that several of Roman Polanski's early short features took the form of silent comedies, reminiscent of Chaplin, Keaton, Laurel and Hardy and Jacques Tati. The main difference to traditional silent comedies was that Polanski's were wacky and surreal, but not very funny. This is the exception.
The Fat Man and the Thin Man (or The Fat and the Lean; there are several English translations) is one of a small number o...
Based on a true story, a Jewish scientist escapes from a train on its way to a concentration camp and hides by disguising himself as a performing bear. When the scientist's identity is revealed, the unexpected happens.
The White Bear by Jerzy ZARZYCKI as a part of a series of film showings Jewish Motifs in the Polish Cinematography with introduction by Prof. Tadeusz LUBELSKI (Film Institute of the Jagiellonian University
Samson/ / Andrzej Wajda
We saw the 1961 film "Samson" by Andrzej Wajda on Saturday. This was a black and white movie in Polish with English subtitles. There were a few instances in which the dialog did not have subtitles. This was limited to a few lines here and there. This movie was set in Warsaw and the Warsaw ghetto during World War II. It was much like "The Pianist" by Roman Polanski (2002). The lead actor even looked like Wladyslaw Szpilman (Adrien Brody) of "The Pianist."
"Samson" is the story of a Jew, Jakub Go...
Hard not to view this film with the benefit of hindsight when - for example - the final image, of faces almost tangibly seeing the light of a new tomorrow, is apparently so straightforwardly propagandistic; scenes such as that in which the older workman talks reverently about the promise of Karl Marx now seem at best quaint. That's probably not an entirely fair prism through which to consider the film, but the theme of anti-Nazi resistance obviously becomes less stirring when one considers the l...
