🎦 The Pianist full movie HD download (Roman Polanski) - Drama, Biography, History, War. 🎬
The Pianist
Year:
2002
Country:
UK, Germany, France, Poland
Genre:
Drama, Biography, History, War
IMDB rating:
8.5
Director:
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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Reviews
Relentless, harrowing tale of survival
There is a certain hallmark in a Polanski film and I have used the words "relentless" and "harrowing" out of respect and observation. Polanski often wields his art in challenging, aggressive and disturbing ways. Some have complained that his predilection to violence and blood are sometimes a bit much. However, though this film has all of that and then some, the sum of the parts is equal to the incredible story of Wladyslaw Szpilman. Having not heard of him before, the first time I saw this film I was shocked on many levels. As a Jew, of course, I had a hard time keeping my eyes on the screen as the details of Nazi brutality were presented like a hard slap on the face. As a pianist myself, I was stunned at how I had missed this mans story and amazed at how good he was as an artist.

There will always be comparisons made by critics when a so-called holocaust movie is made. People draw lines, in this case, to Schindler's List and other fine films. It is odd, isn't it, that Schindler's story took place in Crackow and this film in Warsaw and in each case we feel that humanity had reached the nadir point of misery. Of course that is not true: the death camps, where so many ended up, were the bottom of the pit. "The Pianist" shows us the story of the great Warsaw Jewish population and how it was rounded up, put to work, then obliterated or shipped to death camps. The Warsaw Ghetto uprising was one of the few occasions during the war when Jews rose up against the Nazi war machine. But let me return to the movie as such.

I have no doubts in my mind that the hand of fate came to protect Szpilman. The obvious philosophical question then becomes: why him and not his whole family? It's an impossible question when we ask it but the whole film begs the question. It is an imponderable conundrum but for me the hand of fate was as plain to see as anything. His survival comes in many flavors. He is aided by the hated "capos", the Jewish police in the ghetto. He is helped by artists in the Christian community who knew of his own fame and took enormous risks to help him as best they could. He was assisted by the Polish underground. Finally, in the most moving part of the film, he is aided in the most unexpected manner, by a high ranking German officer, who, upon discovering him hiding in a totally bombed out quarter of the city (we never know why the officer was there, seeing that the blocks and blocks of city were reduced to total rubble)....asks him to play the piano for him; incredibly he plays and to break your heart. The officer inexplicably has sympathy for him and provides him with food and in the end his own winter coat. Our emotions by this time are so overwrought with seeing what Szpilman had suffered that to see him saved yet again by a German soldier.....leaves us raw.

This film has the look and feel of what it must have been like, Polanski having taken pains to hold little back in terms of the brutality, random murder and deprivation of such huge numbers of people. Adrien Brody, what can you say of this performance? He is one of those rare number of actors who can say everything with their eyes. Giancarlo Gianini always does that. Brody often reduces his thoughts and feelings into wordless cries that pour out of his eyes; if you cannot feel moved to tears when he says nothing then you just don't have the receptors to pick it up. To say that his evocation of Szpilman was sensational is too weak a summary. Would that more actors could reach into their souls to pull together such depth, cinema would be graced with more masterpieces. This film is so powerful I doubt we have the ability to drink it all in in one go. So richly deserving of the 3 Oscars. Brodie's performance is so staggering, he will probably not eclipse it again. A monumental story of survival amidst mountains of death, destruction and heart break. A rare cinema event indeed.
2007-06-27
One of the most moving films about the war that I know
There have been innumerable films about World War II, but relatively few about the Holocaust, a subject which, at least for the first few decades after the war, seemed to daunt film-makers by its very enormity. Since the 1980s, however, there have been some fine attempts to come to terms with the most notorious crime of the twentieth century, including Pakula's "Sophie's Choice" and Spielberg's "Schindler's List". Roman Polanski's "The Pianist" is another to add to this list.

The film is based on the autobiography of Władysław Szpilman, a Jewish pianist, who survived the Nazi occupation of Poland. (As one character points out, Szpilman's surname is an appropriate one; it is a Polonised form of "Spielmann", the German for "musician"). In September 1939 the Szpilman family are living in relative middle-class comfort in Warsaw when they learn that the country has been invaded by Germany. The film then traces the way in which the situation of Poland, and especially of its Jewish community, deteriorates throughout the course of the war- the passing of anti-Jewish laws, the creation of the Warsaw Ghetto in November 1940 and finally the deportations to the concentration camps beginning in 1942. By a stroke of chance Szpilman is separated from his family when they are deported to Treblinka extermination camp. For a time he becomes a slave labourer, but manages to escape and is sheltered by non-Jewish friends linked to the Polish resistance, surviving while thousands are dying around him and while his city is gradually turned into a wasteland of rubble.

A key scene comes towards the end of the film. Much of the city, including the building in which Szpilman was sheltering, has been destroyed in the aftermath of the Warsaw Uprising of August 1944, and Szpilman is desperately trying to hide in a ruined building when he is discovered by a German officer named Wilm Hosenfeld. Hosenfeld guesses that Szpilman is Jewish, but takes pity on him and spares his life, even bringing him food and giving him a coat to help him survive.

Szpilman's story had a deep personal significance for Polanski, himself a Polish Jew who managed to survive the war in hiding, although other members of his family, including his mother, died. It is therefore unsurprising that it has a greater emotional resonance than many of Polanski's earlier films, which can often be rather emotionally cool. Szpilman is a gifted musician, but his survival has very little to do with his talent and a great deal to do with the kindness of others and with sheer luck. It is a role which called for a superb actor, and Polanski was fortunate enough to find one in the shape of Adrien Brody, who won a well-deserved "Best Actor" Oscar. (Strangely enough, Brody was not the director's first choice for the role- that was Joseph Fiennes, who was unavailable). Brody's Szpilman becomes a sort of Everyman figure, a tragic version of Chaplin's Little Tramp, stumbling his way through a city which has been reduced to a vision of Hell on Earth. As Roger Ebert put it, he is not a fighter or a hero but a survivor.

Polanski himself won the "Best Director" award. The film was nominated for Best Picture, but lost to "Chicago". "The Pianist" is a harrowing record of man's inhumanity to man, but it is also a film with a message of hope in that it shows how even unspeakable barbarity like that of the Nazis cannot altogether extinguish man's better instincts, shown by the kindness and bravery of Szpilman's friends and his defiant rendition of Chopin's Grande Polonaise Brillante at the end. It is one of the most moving films about the war that I know, comparable in this respect to either Pakula's or Spielberg's. 9/10
2017-01-20
More than just a biography
I'm not quite sure if I will be able to phrase my thoughts about the movie or not, but I can easily say that this movie is one of the best movies I've ever seen. Probably I've never been touched by a movie like this one.

It's not only a biography of a great pianist, it's a documentary about a whole era, a documentary about thousands of people that suffered years ago, that lived, suffered and died, about their everyday lives and their everyday experiences.

I've read much about the second world war and I thought that I knew how it was like and how people suffered, until I saw that movie, it made me see with my own eyes what my brain couldn't imagine, the film took me back in time and space, I was in Warsaw feeling every Jewish lived there that time.

Also the movie portrayed the life and experience of Wladyslaw Szpilman flawlessly, in times I was feeling him, I was somehow suffering while I'm lying in my bed crying over someone that has already died 16 years ago.

The soundtrack fits the events perfectly, the visuals are not impressing but that actually helped concentrating on the emotional aspect.

I have never thought that a film could touch me this way, made me think about my real life now and thankful more than ever that we are living in peace and not suffering, it also made me think about all the people that suffers in our days, having a more clear picture about how wars and suffering could be like.
2016-10-07
A portrait of Poland at the WWII
There are very few films of the Holocaust that aren't huge in scope, and often cover the tragedies of that time. "The Pianist" isn't as bloody or deathly as "Schindler's List" but it definitely shows that survivors came out of it due to pure luck, and that life is very fragile. Adrien Brody as the pianist, Szpilman, lives in the Warsaw Ghetto and after his family is taken to concentration camps, he must survive on luck and his own willpower. He works manual labor and hides at every opportunity. The film is very tense, because his fate is often uncertain, and his allies are often thwarted for their immeasurable help in hiding him. Brody gives an impeccable and heart wrenching performance, starting out with his family and trying to remain light about the situation, but eventually he becomes frail and hollow inside. The film is a shocking depiction of the war, as it should be, and comes from the uncommon perspective of a direct survivor. Haunting and absolutely horrifying, "The Pianist" broaches its subject with thoughtfulness and care.
2017-06-20
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.
2017-01-28
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.

2003-01-13
A pianist going through survival !
You can't believe how much I liked this movie, as a pianist myself, and without having read the about-summary, I expected it to be piano-exclusive kind of movie. I was wrong, but then, I was lucky. It turned out to be a real adaption for Wladyslaw Szpilman's miserable attempt to survive the dense era of the World War 2, and oh boy was it intense ! I felt like I am in Szpilman's shoes ! The movie is long, and detailed, it depicts everything, it makes you feel everything.

And man, the ending, I had goosebumps, it was wonderful, I love how they cut the "Chopin's Ballade No.1" piece, they removed the happy parts, and kept only the relieving-then-intense parts. It is just beautiful. (This is no spoiler by no means)

May you rest in peace Wladyslaw Szpilman, You are a legend, and your life made a great legendary movie !

9/10
2017-10-19
"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.
2012-04-05
Polanski's Triumph
Before this movie, the top two that I'd seen about World War II and specifically the Holocaust were Lina Wertmueller's "Seven Beauties" and the original "Jacob the Liar" from the former East Germany. (I haven't seen "Schindler's List.") Now there's a third. "Pianist" shares some traits with the others. One is that the German characters are not purely evil, although they do many evil things. Another is that the non-German characters are not purely saintly. (In "Jacob," the least sentimental and in my view the best of the three, there's a scene with some young kids being brats, as young kids often are in real life. This makes their impending death that much more compelling, knowing they'll never get the chance to grow out of their brattiness.) In addition, all three films focus on guys who are not soldiers or war heroes, in fact the protagonist of "Beauties" was a Mafioso. They're just trying to survive, even in a world that's gone nuts, because ultimately, that's all there is: the next breath, and then the one after it.

The title character of the pianist has a comfortable life in prewar Warsaw and is so devoted to his musical career that when bombs start going off outside his recording studio, he's reluctant to quit playing. We meet his family in their tastefully furnished home and see that they have as yet a dim notion of the realities of war, as they contemplate what to pack on the way to becoming refugees. (One suspects Roman Polanski drew on his own background as well as that of the book by the real-life pianist.) When they hear on the radio that Britain and France have declared war, they decide to stay put, naively assuming the foreign cavalry will come riding to the rescue.

The brilliance of the early part of the film is the gradualness of the hardships imposed upon this family. First it's one thing and then another, over a period of time. This lets us see how it's human nature to keep adjusting to new and deteriorating conditions, always hoping things will improve or at least not get any worse. An example is when they learn they will have to wear Jewish armbands in public. A few protest they won't do it. Later we see the father out in public with his armband. Later still, they all have one. It never gets referred to again. It just becomes another unpleasant fact of life. So by the time all the Jews in the city are ordered into a walled-off section, we see how they've been "eased into" it; had the Nazis decreed a ghetto from day one, that probably would've spurred an uprising.

Once in the ghetto, we see what anthropologists call a "behavioral sink" developing. I found this the hardest part of the movie to take, even more so than the later battles and carnage. It's not pleasant to watch kids dying in the street as adults walk past them, or to see a starving old man grab a bowl of gruel away from a starving old woman, then eat the spilled gruel off the street. But these are realities that we don't usually get to see, even on CNN these days. I don't know if Polanski has been accused of "anti-Semitism" but if he has been, it's probably due to these ghetto scenes, with some of the Jews living luxuriously (one guy in a cafe even orders the pianist to stop playing while he counts his money) while others starve, and some Jews working as police for the Nazis, and one character blaming their plight on American Jewish bankers not doing enough to get America into the war, etc. But Polanski's point is that the Warsaw ghetto was a microcosm of human society in extreme conditions. Sure they were oppressed because they were Jews but they suffered because they were human beings. Polanski underlines this with a scene of a guy reading the famous Shylock speech in "The Merchant of Venice." Fortunately such editorializing is kept to a minimum.

By the time the Jews are rounded up to be put on board the cattle car trains, they're so beaten down we see why they don't rise up and storm the guards (as one character suggests). It would be pointless anyway, and there's still that next breath to take, and the next one. At the last minute the pianist gets yanked out of line by a semi-friendly Jewish cop; his family members get shoved into the train and he never sees them again, there's no time for tearful farewells. For the remainder of the movie we see the pianist mostly hiding out.

The brilliance in this part is how rigidly Polanski sticks to the protagonist's point of view. Whatever horrible things are occurring, we only see what he sees. Some may be disappointed we don't see more of the armed uprising in the ghetto, for instance, which the pianist watches through the window of the hidden apartment he's occupying. But it's crucial that this remain HIS story. As we watch people getting killed at a distance, we even feel some relief we're not closer to it, which is how he must have felt. Guilt, maybe, but definitely relief too. There's still the next breath, and the one after that.

POSSIBLE SPOILERS FROM HERE ONWARDS

The narrative became a little disjointed in the movie's latter part; it wasn't always clear when things were occurring, or why, or who were all these various people in the pianist's life, but probably that was also deliberate, illustrating his state of mind as he became ever more detached from the events unfolding around him. The pianist focusses on the essentials: food, and breathing. His existence becomes almost purely reactive: if there's food, eat it; if there's danger, flee from it. Only the memory of his music reminds him of his personhood. In a scene where he's secreted with a piano and advised to remain silent, I actually thought for a moment he was going to play it, but of course, the survival instict wins out. Instead he plays a kind of "air piano."

Eventually the war comes right into his face in the form of a tank; there's great use of sound after a shell tears through a wall near him, I could actually feel my ears ringing. He's back in the street, seemingly the only living person in an endless cityscape of blasted buildings. In an abandoned hospital he finds a can of vegetables which he carries religiously for most of the rest of the movie. Finally he finds an empty house that even has a piano in it---and lo and behold, a German officer regarding him quizzically. This was also a real-life character who helped the pianist survive. In the movie it's not clear why, although we see a photo of the officer's family on his desk and he refers to God at one point; the actor is very good and subtle and I had no problem accepting what was occurring, but this was the only part of the movie with elements that reminded me of other movies, such as the "good" German in "The Keep," or the scene in Ralph Bakshi's animated "American Pop" with the American playing piano for the dying German. (I half expected the pianist in this movie to play "Lilli Marlene" or something for the officer.) Another minor problem is that the introduction of this "good German" at the end draws our focus away from the pianist. We start wondering what happened to the German after the war, and there are some onscreen words to tell us. But I think it would have been better if the German had just come and gone, like everyone else over the course of the film. It should have been another "brick in the wall" of the pianist's story of survival.

Many individual scenes stick in the memory; if I had to single one out, it would be when a German officer randomly pulls guys out of a group, has them lie down and then calmly walks along shooting each one in the head. When he gets to the last guy, he has to reload. While watching the doomed guy's face in his last few seconds I thought "What the hell would I be thinking in his place? Would I try a last desperate lunge, or just wait for the inevitable?"

Adrien Brody has to carry the movie and does an admirable job, especially in the early scenes when he has to grapple with an increasingly untenable situation. Later on, the physicality of the role takes over somewhat, as he becomes gaunt, shaggy, shivering and dazed. But at the end when he's back to a "normal" postwar life (or is it?) there's a residual sadness in his face as he plays. Fine acting all around (the woman seeking her missing husband was just a little on the hokey side) but I wish a decision had been made about the accents, viz. "Okay, in this movie English is actually Polish but we're going to use English accents." Fastidiously realistic sets and locations. The black and white footage at the beginning included a statue then seen periodically throughout, a nice anchoring touch.

Definitely not a popcorn flick, no emotional surge at the end a la "Saving Private Ryan." Should it matter to anyone that Mr. Szpilman survived the war and lived to a ripe old age? (Would it matter if any one of us did?) One may even wonder what the point of it all was .... a question worth pondering as we seem to be on the way to another war ....

"Szpilman" means "player," for those wondering about the German officer's remark that it's a good name for a pianist.
2003-02-09
What did this pianist really do besides save himself??
I'm not going to say that this isn't a well made movie. The acting and directing are all well done. The film moved me emotionally, but then just about any film good or bad that shows German atrocities during the holocaust can pretty much do that.

My problem is this...

With thousands of interesting stories from Holocaust survivors, why was THIS story chosen to be made into a movie?? I really don't see what this man really did other then exercise self-preservation, as anyone else would have done in a similiar situation. He doesn't fight the germans like some Jews did (with the exception of hiding a few guns) he doesn't save any Jews like Oscar Schindler did, he is never even sent to a concentration camp. Quite frankly, despite the fact that he was in hiding, he actually had it pretty smooth compared to most Jews in Europe during that time. In fact he had it easier than most German, Russian, French, British or American soldiers did.

Again, this movie is well made, but I just don't see why it is being praised like it is. I didn't learn anything new about the holocaust or see ANYTHING that I haven't already seen done just as well in other holocaust movies. In fact I can name 5 other holocaust films off the top of my head that are based on true stories that are about more than just self-preservation.

It's a noble movie but there are much better films on this subject.
2003-06-20
📹 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. 📀
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