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Purchase The Pianist (2002) Movie Online and Download - Roman Polanski 🎥
UK, Germany, France, Poland
Drama, Biography, History, War
IMDB rating:
Roman Polanski
Adrien Brody as Wladyslaw Szpilman
Thomas Kretschmann as Captain Wilm Hosenfeld
Frank Finlay as Father
Maureen Lipman as Mother
Emilia Fox as Dorota
Ed Stoppard as Henryk
Julia Rayner as Regina
Wanja Mues as SS Slapping Father
Richard Ridings as Mr. Lipa
Nomi Sharron as Feather Woman
Anthony Milner as Man Waiting to Cross
Lucy Skeaping as Street Musician
Roddy Skeaping as Street Musician
Ben Harlan as Street Musician
Storyline: A brilliant pianist, a Polish Jew, witnesses the restrictions Nazis place on Jews in the Polish capital, from restricted access to the building of the Warsaw ghetto. As his family is rounded up to be shipped off to the Nazi labor camps, he escapes deportation and eludes capture by living in the ruins of Warsaw.
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Terrible true facts in our human memory
The movie is spectacular and you can imagine the hard world to Judes people in this time. You can imagine the difficulties to them. You mustsee this movie! In my TOP, I have any doubt abut this. The pianist can transmite th++his feelings with his sad eyes and with his very but very sad music playing in piano. The atmosphere in this time was so terrible and it possible for us to imagine are in them own places. Very similar like Schindler list. I love this movie. Very good!
"That's what we have to believe"
The Pianist is a movie that often gets bundled together with Schindler's List as being "about" the holocaust. But this is a misunderstanding, a simplification even, of this picture (and of Schindler's List). It relates to the holocaust, but it is not the story of the holocaust – it's the story of one man. Władisław Szpilman was an artist, with great talent in his hands and his mind, and in him is represented something very precious in humanity. He also appears, as many such people really are, someone to whom the music mattered far more than current affairs. As such, he provides a unusual view on atrocity, that of someone who, rather than actively fight against it, for the most part tried simply to exist in spite of it.

This somewhat passive yet dignified stance is ably reflected in Roman Polanski's direction, which has always been characterised by an excruciating intimacy with his subjects and a certain detachment from the world in which they inhabit. Here we see Szpilman glimpsing the war through windows and doorways, yet often himself or his hands in close-up. But Polanski's boldest strokes of genius are in his creation and presentation of the ghetto and its inhabitants, especially as regards how he draws our attention. The soldiers giving a cigarette to an elderly Jewish man and the couple fighting over a can of stew are foregrounded. Seconds later, a corpse lies innocuously in the background. When Władek's father is accosted by two Germans, we see a couple of Polish women hastily get out of the way. When the shot changes to reveal the officer's back, the focus is suddenly on his gun holster – it draws our attention to things that give a little extra breadth and context to a scene.

Central to The Pianist is Adrien Brody's portrayal of the title character. It's an incredibly sedate performance, with everything below the surface, utterly commanding of our attention despite its understatement. His emotions seem muted – when reunited with a friend the merest ghost of a smile plays across his lips, but by now we know the character and understand that this is a deep and sincere expression. Brody virtually carries the movie alone, and one of the unfortunate things about The Pianist is that not one other performance stands out at all, and the inadequacy of some of the supporting players does hurt the earlier scenes a little.

But perhaps the greatest thing about The Pianist is in the fine construction of its story. Although most of it is based incredibly faithfully on Szpilman's own memoir, the adaptation by Ronald Harwood gives it a certain dramatic course. There is one intensely poignant scene, and one of the few entirely fictionalised episodes, in which Szpilman is being sheltered by Dorota, wakes to the sound of her cello-playing and, just for a moment, he can imagine what life would be like if she had been his wife. Finally, the scene where Hosenfeld asks Szpilman to play for him seems to be the key to the whole thing. It's as if every moment, every narrative line, points towards that scene. We've seen Germans forcing Jews to dance for their entertainment, which makes us first question Hosenfeld's motives. We've seen Szpilman's desperation to be reunited with a piano, his fingers making keystrokes in the air. In retrospect, this all seems a set-up for that encounter. In effect, The Pianist becomes a tale of a harrowing time, filtered through the beauty of a musical performance.
Film makers have to step carefully when dealing with issues like the Nazi extermination program. There have been equally brutal programs of ethnic cleansing in places like Southeast Asia and Rwanda, in which hundreds of millions died, but nothing like this in Europe since the Middle Ages. The victims here were not only Jews but Gypsies, the mentally ill, homosexuals, socialists, communists, and political undesirables. The Nazis eliminated not six million but some uncountable number between 12 and 15 million. An event like that can't be treated lightly and milked for easy tears, or the event itself is cheapened.

Fortunately, the films that have explored the subject have been uniformly well done, as Roman Polanski's "The Pianist" is well done. Polanski himself suffered in much the same way as the protagonist, Vlad Szpilman (Adrien Brody). Polanski has a habit of embellishing his tales but there's no question that in this instance he knows what he's talking about.

Szpilman is a well-known young pianist on Warsaw radio but the German occupation puts the station out of business. He and his family are herded into the Warsaw ghetto where they are subject to constant abuse and occasional murder. Szpilman barely escapes being sent to Treblinka with the rest of his family. And for the last half of the film, with the help of some friends who endanger themselves by lending him aid, he scuttles rat-like from one hiding place to another, each more dismal and perilous than the last. He suffers jaundice, his hair and beard grow long, his clothes turn to tatters, his food disappears, he's half frozen, and he seems to shrink.

He's reduced to living in the attic of a nearly demolished apartment building and is ecstatic to discover a gallon can of pickles overlooked on the top shelf of a kitchen cabinet. The can falls out of his hands while he tries to open it and rolls across the floor to come to rest at the boots of a German officer, Captain Hosenfeld (Thomas Kretschmann). The only Germans we've seen so far have been brutes -- ridiculing the insane, executing Jews who ask simple questions, or simply shooting people chosen at random.

We expect nothing from Hosenfeld except a quick shooting. But Hosenfeld is a human being and, having discovered that Szpilman "is" -- or rather "was" -- a pianist, he asks him to play a piano left in one of the flats. Szpliman has been unable to play for years and when he seats himself we worry that he might not bring it off and, indeed, his first chords are tentative, uncertain. Then his playing becomes automated, the old habits return, and he dashes off a dramatic and exquisitely executed piece of Chopin. Hosenfeld has been leaning back, enjoying the music, then leaves Szpilman quietly to his attic. He returns a few times later, before the Germans withdraw before the Russians, and unceremoniously hands him a few packages of food and, finally, his overcoat. The matter-of-fact compassion shown by Hosenfeld, and Szpilman's desperate need for contact with another human, are very moving.

When the Russian troops finally arrive, Szpilman stumbles out of his hovel to greet them, but seeing his overcoat the Russians open fire on him. Szpilman finally convinces them that he is a Pole, not a German, and one of the befuddled soldiers asks, "Then why the ****ing coat?" Szpilman is trembling with fear but manages to gulp, "I was cold." An epilogue tells us that Szpilman went on with his career and Hosenfeld wound up in a Soviet prison camp where he died in 1952, despite Szpilman's attempt to find him. Under the end credits, a smiling Szpilman plays a lively, sparkling composition by Chopin.

It's a remarkable film. Polanski is no longer the Wunderkind but a mature film maker. Nothing is excessive. We need only as much as we need to know to understand Szpilman's travails -- one tragedy following another. There are no sentimental speeches at the final parting of Szpilman and his family. Szpilman himself never breaks down. He simply does what needs to be done to survive. And Adrien Brody captures what Szpilman must have been like. (From some angles he resembles the young Arthur Rubenstein.) Kretschmann gets Hosenfeld down pat as well. In their scenes together we sense their respective positions -- one man with nothing left to lose, the other with nothing left to gain. The story, and the historical facts it's based on, raise many questions about human nature, of course. I'm not at all sure that if we could find the answers to those questions we would like what we found.

One of the better films of the year.
One of the Best of This Decade-BRAVO!!!
All you see these days are mainstream films that were made for 2 things, entertainment and money. It seems that Hollywood has ran out of ideas in making a beautiful film that will stay in your mind,forever.The Pianist is not just a movie, it is an experience.

The Pianist is a story about a young Jewish musician named Wladyslaw Szpilman,a brilliant pianist and composer,probably the most acclaimed of his time until the World War II made him give up his career.This powerful,triumphant film will leave you breathless.It follows Szpilman's journey for survival during the Holocaust with the help of a sympathetic Nazi Officer.He lost his family and was separated from his friends but that made him stronger.Survival was his masterpiece.

It is both depressing and uplifting.The film was nominated for 7 Oscar in 2003 and won 3 including Best Actor for Adrien Brody's greatest performance is his career.I haven't seen Schindler's List before, but this film might be the greatest Holocaust film ever made.Bravo to Roman Polanski.This is what artistic film should be like!!!
Greatest movie I've ever seen!
This is the best movie that I've ever watched. I definitely recommend you watching this. Adrian Brody, perfect acting. The directors made such a great job, you can enjoy it until the last scene and.... love it until the end. I don't think there will be a better movie coming out.. Go watch this amazing piece of art, you will be satisfied and very happy.
Amazing movie
I believe this movie to be one of the most excellent movies of our times. It has several aspects that make it especially great. Firstly, the music, the most important feature of this movie, in my opinion. Chopin nocturnes and polonaises are perfectly chosen and arrayed to create an unforgettable atmosphere. In one scene, they even take time to play the whole piece of music, without interfering. Secondly, the actors in the movie: none of them are/were really well known, but WOW! (for lack of a better word). Thirdly, it's one of the few movies, where you can actually watch the credits (forever) and wish the movie wouldn't end.

Personally, I think it's a perfect 10/10.
Wonderful and Terrible. SPOILER WARNING
Roman Polanski's new movie, "The Pianist" is a truly gripping, devastating, heart-felt, unsentimental piece of work. I urge you, if you have not seen it already, to do so before you read anything more about it (including this review). You need to come to the film cold, as it were, knowing as little as possible in advance, so that its effect will be as powerful as possible. This is what I did. I sat in the cinema, chatting quietly during the ads and trailers, preparing myself mentally for what I expected to be a reasonably harrowing but ultimately uplifting experience. The film began. My initial reaction upon seeing Maureen Lipman and Frank Finlay was a slight smirk and a minor panic: Oh God, brit thesps over-doing it. Nothing is more horrifying than the sight of Brit thesps over-doing it. Or so I thought. Because shortly after this panic there was more to concern me. Firstly, the Brit thesps were not over-doing it at all. They were instead giving subtle, measured, moving performances. How bizarre. Secondly, about ten minutes into the film, a gang of nazis stroll into an apartment and casually drop a man from his wheelchair out over the balcony and onto the street below. This is all shown from the point of view of our heroes in the apartment opposite. It all takes place in one long, agonising, heart-stopping take. The entire cinema gasps in horror. All of a sudden we realise just how grim and unflinching this film is going to be. From then on, things get worse (if that is at all possible) with horror piled upon horror in the most matter-of-fact way. Bodies lie in the street. Citizens of the ghetto bicker with each other over scraps of food, spill the food and then lick it up off the floor in desperation. Nazi thugs (as opposed to all the nazi non-thugs...) force Jews to dance, shoot them in the head whenever they feel like it, drive over their dead bodies, etc. etc. Then, as The Pianist's family is locked into the train carriage never to be seen again (the door slamming shut on their screams) he is alone in this insane world, suddenly forced to survive. He is not a good or bad person. He is certainly not a hero. If anything he is rather selfish and introverted. Which only makes this film more realistic and moving. We find ourselves imagining what it would be like to be in his situation. What would we do? There is no point mourning the loss of loved ones. That won't help anyone. Nor is there any point fighting. The Warsaw uprising begins (the fight scenes here are startlingly believable) and then ends in a rout by the nazis. The Pianist watches from his hiding place several storeys above the city. He is a detached observer rather than a participant. He is, perhaps, even a coward, running away from, rather than confronting the enemy. While working on the building gang he does get involved in helping the resistance, but escapes before the fighting begins. All the time we think: what would I do? We would probably do the same: Hide, run, survive. Defiantly avoiding sentimentality at all points, Polanski is in full command of his material here. Adrien Brody as our "hero" is superb. His transformation from elegant, attractive man about town to shivering, starving, desperate wreck is an amazing performance. Towards the end, as he hangs on to his tin of what? Some sort of fruit? with pathetic determination, he is a terrible vision of a man reduced to almost nothing. But still there is the spark in his eyes, and of course, as luck would have it, there is a piano. Which is what saves him. And there is a coat, which almost gets him killed. "Why the fucking coat?" "Because I'm cold." Note, by the way, that the line is not, "Because I'm f***ing cold" which would have been a nice gag, but fake. "Because I'm cold" is achingly sad and small and true. Like I said, Polanski and his screen-writer (the inestimable Ronald Harwood) are in full command of their material. There is not a single false move, not a single mistake. The film is beautiful and cold and terrible and sad and genuinely great. Unlike that other holocaust movie to which it will no doubt be compared, "Schindler's List", this is not at Oscar-Machine, but a moving and honest portrayal of human cruelty and desperation. It is also, in case you haven't worked it out already, a masterpiece.
Brilliantly Narrated, Visually Stunning!
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.
A common story told in a different way than usual
I usually don't cry when I watch movies. This movie left me in tears, I sobbed and I could relate to the main character - not exactly in the same way, but how it feels to not being seen as a part of society (apartheid and other issues of today). I didn't pause for one minute. I felt a lot of mixed emotions. This movie is so beautifully made, one part of it - when the SS soldier saves the main character - shows that there is hope for humanity, and that people have the ability to avoid their racial views and save each other when they truly feel sorry for one another. I truly recommend The Pianist, you won't be disappointed.
A similar ground in different sides...
Had to be top achievement of Adrien Brody, and I never doubt the pinnacle of his performance for this. Set again the old ages of the 20th century this film made me recall Steven Spielberg's "Schindler's List" ringing in my head. It was as heartrending, fearful, expressive and disastrous as the characters of Spielberg's film experienced, though in a different view of course. This film again showed us the misery of innocent people experienced in the hands of vile Germany. But then it left me a room to think in my head that not everything of Germany is as vile as the mainstream thinks. It's the same lesson I picked when watching Schindler's List. And the suffering of the protagonist opened once more parts of life you never thought would happen to anyone. And there are so many things you would never thought of letting go or letting it happen before your eyes and conscience. Such burden and misfortune one has to carry just to survive, Adrien's character lived up to that. We saw it, the struggle and transformation. It was the beauty this film carried, no wonder that for me an Oscar is not ample enough to appreciate the brilliance of human experience excellently told to the mass.

Funny it is when my brother's girlfriend recommended me this film and after watching it, I can't get over it. I was even impressed to myself when I shared it to my officemate that she told me how vivid my recollections where. I can't explain it, but probably because of my craving for a beautiful story made me grasp the film in just one go. Just like "Joyeux Noel" an opposite of this film, though with same worldly issues and situations, strengthened my attachment to them.

There so much to tell about this film and I'm really looking forward for the book the film is based. There so much of the detail probably I've missed but the film is brilliant enough to compress those in my opinion.
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