🎦 The Pianist full movie HD download (Roman Polanski) - Drama, Biography, History, War. 🎬
The Pianist
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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Never again
Soundtrack for this review: El pianista del gueto de Varsovia by Jorge Drexler

It is hard to review this movie. It is not easy to evaluate this movie in terms of its acting, its quality, its directing, with an armchair attitude that ignores the crudeness and harshness of real life. It is hard to say phrases like "Roman Polanski, perhaps due to its own experience, captures perfectly the feeling of everyday life of Polish Jews during the Second World War, its sadness and despair but also the tiny moments of hope", however true that might be.

It is very hard to rate this just as a movie, and not as a reminder for the human race of what are we capable of. I'm often reluctant to watch Holocaust movies because I know beforehand that they will have very hard to digest moments, and they are almost an act of masochism, two hours of intense suffering. But they are necessary, they are real stories that urge to be told, and need to be heard so that they don't happen again.

In a world where islamophobic parties are winning votes in Europe, where Americans proudly wave a flag that is the symbol of slavery in front of their president, these movies are indispensable. We cannot allow ourselves to fall into the collective madness that Germany fell into between 1933 and 1945. We should have learnt by now that technology has allowed the State to mobilize way too many resources, and the extermination of an entire group of people is only a button away. Not to mention the fact that these things still happen in more remote corners of the world, where they don't destabilize global geopolitics.

So it would be too frivolous from my side to evaluate Polanski's direction or Brody's acting, as if this was fiction. The feeling I have after having watched The Pianist is not the one of a film critic that passively observes reality from behind his desk, but an active one, the imperative of making sure that nothing like this ever happens again.
Honest Portrayal Of Szpilman's Complex and Horrible Situation
Danger: Spoilers Ahead

I had an opportunity to see The Pianist this weekend, and I must say, I thought it was excellent - more so than I had expected, and I generally appreciate both Adrien Brody (who plays Wladyslaw Szpilman) and Roman Polanski.

I've seen pretty much every WWII and Holocaust film ever made or subtitled in English, and The Pianist is quite possibly the best (in my mind better than my previous 3 favorites of this genre: Europa Europa, Life is Beautiful, and Schindler's List). Have read pretty much every book on the subject I can find, also, I can say that The Pianist also strikes me as the most balanced and realistic portrayal of the situation - and indeed this may be a problem for some people. (Like Schindler's List and Europa Europa, The Pianist is based on a true story - and I think it conveys this story more convincingly than either of those films).

What I think makes the Pianist such an excellent film is that it accepts the moral ambiguity of people on both sides, and makes obvious the fact that opportunism as much as ideology played a part in the actions of individuals on both sides. One "villian" in the form of the Jewish Police officer also plays a beneficial part in the life of Szpilman. The unexpected hero in the form of the sympathetic German Hosenfeld does not reap any reward for his good deeds. Szpilman himself feels that perhaps he should have stood by his comrades more directly in various actions such as the Ghetto Uprising, and while everyone who has read about it thinks they understand "survivor guilt" Polanski and Brody do an excellent job of making you believe that Szpilman really feels it.

Some reviewers seem to have missed the point of the moral ambiguity, which I find disheartening. They say that the good Jews help Szpilman out of sympathy, ideology, and comraderie, and the Gentiles out of opportunism, guilt, and only because he is a great pianist. I felt that the film showed that both groups who helped Szpilman had reasons ranging through all of the above, and part of the truthfulness of the portrayal was that the "moral divide" was not so clear.

The scene with Hosenfeld, in particular, struck me as being indicative of the filmmakers' perspective on this. While many may believe that Hosenfeld doesn't kill Szpilman because he is a great pianist, the beginning of the scene, in which Hosenfeld questions Szpilman with no weapons drawn, calling none of his subordinates to him, and in a civil, human tone is indicative of the filmmakers' belief that this person's core beliefs have eaten through his indoctrination. Hosenfeld has no reason, within the context of the Nazi system, to bother to find out anything about Szpilman, yet he does. When Hosenfeld attempts to get out of the prison camp by saying he helped Szpilman, it seems a desperate attempt rather than one calculated during the time in which the tables were turned. It becomes the undeserved punishment of someone who, for no reason other than his own character, performed good deeds in a terrible situation (which he helped to create, but which others of equal anonymity who went unpunished did more to create and less to counter).

Similarly, the moral ambiguity is amplified by the pragmatics of the situation. When Szpilman's brother and sister choose to be with their family in "relocation", their actions read as "morally correct" but pragmatically quite stupid (as Szpilman himself comments). It calls into question whether or not it is equally morally correct to save yourself in order to carry-on the struggle to save not just yourself, but what is left of the community, perhaps even to join with Partisans in a direct attempt to change the situation. Szpilman recognizes the value of carrying on, but feels tremendous guilt about both abandoning his family and not joining in the Ghetto Uprising.

It is this moral complexity which makes The Pianist so compelling. It does not attempt to paint the picture in terms of "Good Jews" and "Bad Germans", but rather that both sides had their heroes, villians, and confused people who could be seen as both, and that not every good deed was rewarded or bad deed punished - which from my readings, and from the stories my grandmother has told me (such as my Grandfather's life being saved by a Ukranian SS officer), is much more honest and plays on-screen as more compelling and realistic. The film does this without overstating its point and falling into the trap wherein it tries to make Jews "equally culpable" for the Holocaust. Rather, it makes clear the morally complex situation into which people were thrown, and that each responded to it according to their own character.

I think Szpilman would find this film an appropriate interpretation of his writing, and I recommend both the film and the book to anyone who is interested in such topics.

A Graduate Course In Human Cruelty
Spoilers Ahead:

This film equals or surpasses Schindler's List. It is on the micro or individual level versus the macro or group level of Schindler's. Brody gives such a powerful, quiet, understated performance and Polanski shows why if he applied his considerable gift towards less supernatural films we would all be quite richer. Polanski's signature in this movie is showing little snippets of individual cruelty; he let's us project outwards the large sum of all these acts of evil. Slapping the father for walking on the sidewalk, making the Jews dance with each other, and my favorite taking the grandfather, in the wheelchair, lifting him over the balcony and dropping him several stories. I prefer this movie to Schindler's because the cruelty in taken down to the everyday, human level. Schindler's was so large, the liquidation of the Warsaw Ghetto, you get lost in the sheer numbers of the horror you are witnessing. Here, you get to look out it close up. Polanski does not paint all of his countrymen as saints, notice how one slob abandons Brody, using his name to collect money for his care, pocketing it and not caring what happens to Szpilman.

Brody really draws us in with his quiet, slight unimposing manner; we run with him as he is forced to flee from one piece of safety to another. Who will forget him making the racket and the big Nazi cow bellowing Jew! Jew! as he runs away. The horrors of working for these insects how any trip or mistake is punished with severe beatings. Book burning, corpulent, stupid, Bratwurst eating fatheads yelling and beating. I love the scene where they have to line up, the tall pig picks people out at random, makes them lay down and shoots them. Watch for the poor last guy when the swine runs out of bullets and calmly reloads while the man waits to die. What Polanski did is blend inextricably the beautiful classical music Brody plays with the images of human cruelty. Spielberg did the same with a scene in Schindler's where while they are machine gunning hiding stragglers at night, in the buildings, the machine gun reports blend with some Nazi playing Bach; the idiot listening calls it Mozart demonstrating his ethics equal his musical knowledge.

The point of the synthesis is a lesson in misanthropy. When you hear that beautiful music, remember what the humans who generated it are also capable of doing to their fellow man. We see this replicated at the end where the Nazi who catches Brody, demands the starving, shaking, emaciated man play the piano for him like a performing monkey. Some people felt sorry when his mercenary kindness to Brody doesn't bear fruit later when the Russians capture him; I was not one of those people. He got just what he deserved. The movie is so gently done, except for a few scenes of the Warshaw Uprising, there really are not big macro moments. Yet, that is its beauty; we experience is all through Brody's eyes. This harmless, tiny man who plays the piano with great beauty; this juxtaposition, the beauty with the ugliness is why Roman Polanski is such a great director. It is not a movie, it is an experience you will take with you the rest of your days. They still haven't released it on Blu Ray for some stupid reason; how they could have missed this great film for conversion to HD escapes me. A Great Film From A Brilliant Man.

"A man selling stolen goods and the other paying with counterfeit money; that is your picture of human nature." Mark Twain
Very disturbed
I give this movie a 9. Now, perhaps it is because TP zoomed in on the struggles of one man instead of a nation, I found myself so disturbed I could not sleep. I have watched "Shindlers List"5-6 times, but never was so shaken up emotionally or physically as I was when I watched The Pianist. Oh I saw it once, and that was enough for me. A wonderful movie, so sad, yet exhilarating at the end watching him play the piano with the sympthomy. A wonderful movie of the help of a few for one man, his dark hellish life during this time, yet living through it, a changed man, with raised scars that I am sure criss-crossed in and on his heart. Once was enough for me.. but am glad I finally saw the movie.
Adrian Brody's Terrfic in this wartime Biopic
This is an excellent movie/biography of a famed Jewish and Polish pianist during the occupation of Poland (specifically Warsaw) from 1939-45. Over the course of the filming Adrian Brody lost an astonishing amount of weight while he realistically portrayed a Jewish man that suffers horrific indignities while imprisoned in the Warsaw Ghetto. Roman Polanski the director spliced some incidents of his own childhood (as he lived in Krackau during the Nazi occupation) and those of the real Pianist, along with some other experiences of Poles and Jews in the Polish Ghettos at that same time. This picture was filmed in Poland in some of the oldest existing apartment blocks to provide some realism, and the movie relies very little on special effects during the German invasion or that of the Soviet/German fighting and destruction while the city was nearly destroyed. It was very interested to see real (although brief) footage and faces of Warsaw peacetime before the Sept 1 1939 invasion. No doubt many of those people did not survive the years of occupation, genocide and war and were the real people that this movie tries to portray. Thomas Kretchsmann is memorable as the real life German officer who has some interaction with Brody's character and was celebrated later in life for helping some Jews survive Nazi occupation.
The Pianist: A Cinematic Masterpiece about an Inspirational Man
The Pianist is about the Polish Jewish musician Wlad Spielzman, who struggles to survive the destruction of the Warsaw ghetto in World War II. The Nazis began by stripping the most basic rights of Jews, and became more malicious as the movie progressed. The Jews were later put into the Warsaw ghetto, where powerful scenes depict Jews lying dead in the streets and stronger people stealing food from weaker people just to survive. The Nazis took away the Jews' humanity, and the Warsaw ghetto followed the law of the jungle, where only the strongest survive.

From the Nazi revolution, Wlad Spielzman's reputation as local hero was swiftly reduced to a prisoner of war. He only survived from the kindness of his friends and his strangers. He doesn't have the heroic characteristics of seeking revenge against the Nazis for possibly murdering his family. Rather, he's a simple civilian who merely struggles to survive in the difficult Holocaust.

He relies on the music playing in his mind and channelling into his fingers to keep his sanity everyday he spent in hiding. His musical gift saved his life at the end of the movie, where the Nazi soldier spared his life because of the beautiful piano music he played.

The plot line in The Pianist is riveting, and Wlad Spielzman's story is truly inspiring. The Pianist is definitely a cinematic masterpiece, and is more than worthy of a 10/10 rating.
Film and Music, Pain and Fire
Spoilers herein.

Nearly any film is for me a double experience: the watching and the post-coital rumination. That second phase can make the experience worthwhile even when the film itself is ordinary or poorly done.

But it works the other way as well, especially when a film is designed for discussion: the film delivered with so many opinions that themselves are ordinary or poorly done. This film comes so charged. Szpilman wasn't `Jewish enough' to be the center of an important holocaust film, goes the most ordinary and loudest of them. I suppose there are some things about the commingling of descriptive art and definitive life to be said there. But one likes to have more freedom in post-film thoughts and that whole topic is dominated by the sorts of reflexive responses manipulated by film.

There's a second prepackaged topic concerning whether `Schindler' was better or `worse.' I don't consider Spielberg's film a holocaust film at all: he lives in a happy world, where justice and right (and lots of other happy values) always triumph. His observations are always external. His goal is always to tell a story, a stance that furthers the distance between his films and reality. Polanski's project has no story at all, merely a life of accidents. His camera is within the artist's personal space. His own mannerisms are Eastern European and depressed, congruent with what he shows. (Speilberg's Schindler really did have the silk unctuousness of the East, but as observed from California.) So I credit Polanski's vision as having more historical credibility than Speilberg's, knowing that despite the best efforts of us all to avoid having practical history made by the movie marketplace.

(One exception, where Polanksi is offensively theatrical: when Szpliman runs from the destroyed hospital, he faces a street of desolation as far as one can see, `High Noon'-wise.)

Much more interesting to my mind is the portrayal of an artist. Polanski has always been deeply self-referential in his work: always there is an examination of the artist within the art. And I make a minor hobby out of collecting film experiences that do this with music and mathematics because I have some personal experience to work with.

For those who don't know: Poland‘s pride is Chopin, who invented a relationship to the piano that not only defined modernity but reinvented everything about musical performance. (Film would follow this lead in 1941.) Chopin built pieces designed to be bent in performance, designed with empty rooms that a pianist could explore. Unlike, Bach for instance, where the magic of the performance was in attuning to Bach and his intent, the performer of Chopin really could bring his own soul to parity with God. Szpliman was a strong pianist, and therefore more than a national character, instead a reflection of the Polish heart.

Here, we watch this man compromise his own pride, eschew his religion, run away from every opportunity for dignity in order to keep his hands warm to play another day; and not just play, but play on the radio for Poles. So during this painful journey, we assume what we are meant to in films about tortured artists: that the pain we are watching will be transmuted by this man into great art that will lift us all. His own personal denigration - what is done to him and the denigrating choices he makes - are worth it overall.

This is where the fatal pessimism of Polanski stops, because he doesn't let us know the musical truth. This is not Szpilman‘s playing of course, but not much unlike him. Szpilman was a `safe' player, one who never had the strength or desire to add much to Chopin. That's why he was on the radio: his `interpretations' were unchallenging and palatable. But he would never have been considered an artist of note at all if he had not survived the perfect brutality of the Germans, whose own music, though sentimental was constrained in ways that Chopin's never was. The payoff is supposed to be that after his trials, the artist is now - theoretically - capable of expressing the pain and yearning of the world. That we are meant to so think is clear from the end, where he plays with the glow of Dreyfuss from `Music of the Heart.'

Ah, but not so. The sound we actually hear throughout is by Olejniczak, a similarly ordinary man. Szpilman did not in fact come through a better artist, but much worse: a meek pianist. `Shellshocked,' postwar contemporaries would say.

Contrast this with Artur Rubinstein. Jewish Pole of the previous generation, and the first giant to explore Chopin's rubato. He had his own dark nights, but not because the world was inhospitable. Listen to his recordings (freely available) compared to Szpilman‘s (hard to get) or even Olejniczak‘s on the soundtrack. These are two different universes. One is merely pleasant, the other life-altering.

Polanski has made some great films (including the under-appreciated `Ninth Gate'), and his thinking through of the intellectual reach of a project is extensive but he has ultimately let us down here. Implicit in much of modern Jewishness is the triumph of enrichment of the people through their tribulation. Perhaps that is true, but this film undermines the idea when selecting Szpilman as metaphor.

Ted's Evaluation -- 3 of 4: Worth watching.
To hell and back.
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.

Touches so many emotions
I want to say the pianist, Spillman, forces commiseration and pathos throughout the whole movie. I don't think you can really finish this movie and not feel sorry for him. The last scenes with his family are so poignant, with just a few lines of dialogue, the director touched on the essence of saying good bye. His love of music, and not being able to play personally touches the audience. As music is his life and passion, not exercising that talent only drives sorrow to the extreme-degree. The look throughout all the scenes of the film express the dread of his character so clearly: the look of holding back tears and not giving up. This only adds to his dignity as someone trying to survive and bring the humanity out of others.
Very well acted but depressing.
I watched this film for the first time yesterday. I knew it was about World war 2 but I didn't realize specifically which parts. Adrian Brody is amazing in this film playing the part of Wladyslaw Szpilman. It reminded me very much like Schindlers List not only because it covers the same themes and time period but also because it really made me appreciate the time in which I live. The way people got treated during that time was horrific and heartbreaking. This movie in my opinion had some very confronting scenes such as Adrian Brody's character getting brutally whipped by a German soldier and also a man getting thrown off the balcony from his wheelchair. These scenes for me were quite hard to watch. Overall though this film was good to watch. I can't imagine it would be easy to act those parts and put yourself into those situations but it was acted very well and very genuine. If you managed to watch Schindler's List then this film you will be able to relate to.
📹 The Pianist full movie HD download 2002 - Adrien Brody, Thomas Kretschmann, Frank Finlay, Maureen Lipman, Emilia Fox, Ed Stoppard, Julia Rayner, Jessica Kate Meyer, Michal Zebrowski, Wanja Mues, Richard Ridings, Nomi Sharron, Anthony Milner, Lucy Skeaping, Roddy Skeaping, Ben Harlan - UK, Germany, France, Poland. 📀