Mathilda, a 12-year-old girl, is reluctantly taken in by Léon, a professional assassin, after her family is murdered. Léon and Mathilda form an unusual relationship, as she becomes his protégée and learns the assassin's trade.
In this adaptation of the autobiography "The Pianist: The Extraordinary True Story of One Man's Survival in Warsaw, 1939-1945," Wladyslaw Szpilman, a Polish Jewish radio station pianist, sees Warsaw change gradually as World War II begins. Szpilman is forced into the Warsaw Ghetto, but is later separated from his family during Operation Reinhard. From this time until the concentration camp prisoners are released, Szpilman hides in various locations among the ruins of Warsaw. Written by
Ronald Harwood was assigned the role of writing the screenplay, largely on the strength of his play "Taking Sides". Roman Polanski saw the play when it was produced in Paris in 2000. As the play is about music and Nazis, he figured Harwood would be a great fit for the project. See more »
Near the end of the movie, Szpilman leaves the house where he has been hiding for a while. Warsaw is completely destroyed, and all buildings are in shambles, but all the streetlight poles are perfectly straight. See more »
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.
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