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A Venetian Coronation, Classical. Act One Drama. The Tender Bar Memoir. Night Work Thrillers. Sheku Kanneh-Mason played three pieces at the Royal Wedding. One was by Franz Schubert. If you saw the program, did you shake your head at that last name? As it happens, a fine novel tells her story. It starts like this:. She lives in blackness. So far, so true: There really was a woman named Maria-Theresia Paradis.
Maria-Theresia played piano before, around age 3, she went blind. She was said to have been a child prodigy; at 17, she was a virtuoso, and the Empress gave her an annuity of ducats.
Don’t Shoot The Pianist.
But her genius at the keyboard was eclipsed by the mystery that surrounded her. Something made her go blind overnight — what was it? Her reason:. She felt that being blind was the only power she had over them [her parents].
She was the object of their obsession, the subject of their confrontations, but without her, her blindness, they would have nothing to discuss. Her handicap freed her from her parents and at the same time enabled the three of them to remain a family. She is no longer frustrated to have lost a sense, the appeal of which she has forgotten. What is sight, exactly? It shows us the tragedy and horror from all angles, like a collection of photographs and brief testimonies.
Spielberg uses every trick in the book, artful and artificial, to make us feel the pain of those who suffered. For most of the film, he tries clinical re-creations; by the end he has given in to his trademark sentimentality, offering emotional breakdowns and simple platitudes. As if realizing he has lost his grip on reality, he thrusts real-live survivors in our face, to make sure we understand that this really happened.
It's an effective and at times profound work, but its flaws show more and more with age. Instead of trying to shove the whole abhorrent affair down our throats, Polanski grounds his story in the experience of one man, and lets us experience the Holocaust as people really did -- in a state of semi-denial until the only way to survive was grovel, scrounge, rebel, or run. This film, the most moving and powerfully crafted film I've seen all year, will offer you a shocking portrayal of how the Jews in Warsaw found themselves trapped in an irrational and unstoppable death machine.
It will also cause you to stop and think about the riches we take for granted: family, food, music, freedom. Skirting both the melodramatic, self-congratulatory blockbusterism of Schindler's List and the retroactive outrage of Claude Lanzmann or Marcel Ophuls, the movie unfolds with an almost reportorial matter-of-factness. The impression it so successfully conveys is that of an on-the-ground eyewitness account, replete with a genuinely unsettling tone of almost bland inevitability. And there have been some great films.
One has the feeling after watching the emaciated pianist hunker down, that he's the last civilized person left on the planet. The film had a stunning visual sense of the isolation and human depravity that were linked together with the pervasive mood of hopelessness displayed by the pianist.
In the film's last shot, Wladyslaw is accorded an ovation by the Polish people after his piano recital. It took the film a long time to get to that point minutes , but in an absurdly odd way I began to feel what the pianist was going through and how his music was the only sustaining force that kept him sane in such terrible times.
The film felt like a grind, but I don't mean that as necessarily a bad thing as much as I mean that it provoked thought and penetrated inside one's own sense of human values and was more of an educational experience than anything else.
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For those who venture to see such a demanding work, the reward could be an unforgettable experience that allows you to see something else about the Holocaust just when you thought you saw it all. Remember when everyone just assumed Lauren Bacall would win a couple of years ago? There are not sure bets with this stuff. I'm humbled and grateful for the recognition, but the credit truly belongs to the power of the story and the amazing vision of [director] Roman Polanski.
Plus it is an added treat to be honored among actors for whom I have the greatest admiration.
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We are proud to share in these accolades with Roman Polanski and the film's extraordinary cast and crew. Sixty years have passed, but we must 'never forget. There's a significant difference between the two films, however. Its an open acknowledgement that Schindler, not his suffering workers, has been the focal point of the film. To call the result one of the years most impressive cinematic compositions would not completely do it justice. The Premiere of the Pianist in Warsaw and Krakow znak. The film was presented in Krakow on the following day. During the official premiere numerous guests arrived, among them: Marek Edelman the last living leader of the insurrection in the Warsaw ghetto , president Aleksander Kwasniewski, prime minister Leszek Miller, the Sejm Speaker Marek Borowski, minister of culture Waldemar Dabrowski.
In Krakow, a few hours before the "sentimental premiere" at the Kijow movie theater had started, Roman Polanski appeared at the Hall of National Remembrance located at the old Apteka pod Orlem at the Heroes of the Ghetto Square the owner of which, Tadeusz Pankiewicz, during the war helped Jews imprisoned in the ghetto by the Germans. A Polish guard from the Construction Services helped me to escape. Thanks to him we can meet today," said Polanski, visibly moved.
Please wait for us," said the film director to the journalists before strolling through the Square of the Heroes of the Ghetto with Adrian Brody, who played the main part in the movie.
Also here, at the Krakow ghetto, almost all members of my family were killed. The memories from those times were also an inspiration for this movie," said Polanski before the premiere of "The Pianist". After fleeing the oppressive rule of Communism in his native Poland in , Mr.
Polanski made two of his most powerful films, "Repulsion" and "Cul-de-Sac. Polanski's wife, the actress Sharon Tate, and their unborn child in , he went on to make his bloody adaptation of "Macbeth. He is now almost finished with a project that has led him to return to that era: an adaptation of "The Pianist," Wladyslaw Szpilman's dispassionate autobiographical account of surviving the Warsaw ghetto. Throughout the filming here, Mr. Polanski, 68, kept a low profile, shunning most publicity for the movie, which is being made in English and has been largely financed by France's Canal Plus cable television channel.
It is produced by Gene Gutowski, an old friend, who produced Mr. Polanski's earliest films and is himself a survivor of German-occupied Warsaw.