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Download The Pianist 2002 Movie Legally
Year:
2002
Country:
UK, Germany, France, Poland
Genre:
Drama, Biography, History, War
IMDB rating:
8.5
Director:
Roman Polanski

 

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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
The Pianist 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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iPhone 480x258 px 895 Mb xvid 600 Kbps mov Download
Reviews
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.

2003-01-21
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.
2009-06-23
Sobering Depiction Of Warsaw Under German Occupation
The first thing that should be said is that this is most definitely more than a Holocaust movie. Although that dreadful event stands firmly in the background, this movie is really about one man's struggle for survival. The one man is Polish Jewish pianist Wladyslaw Szpilman. Adrien Brody played that lead role, and he played it well. Szpilman comes across as both pitiful in his desperation to survive but at the same time as noble in his desperation to survive. Brody portrays him as a man with great dignity. It was a challenging role, because as the movie progresses, there's less and less dialogue for the simple reason that almost everyone except Szpilman has been taken by the Nazis. Brody ends up playing long stretches without voice, but it doesn't stop him from rendering a brilliant portrait of the man, whose friends and family are gone and who simply tries to live day by day hoping for a way out of this madness. Just as haunting are extended scenes in which director Roman Polanski simply shows us a devastated Warsaw - not just the Jewish ghetto, but other parts of the city as well. The scenes of rubble, the scenes of innocent people being gunned down in the street by German soldiers - sometimes just for sport, without any other obvious reason, the scenes of burned out buildings. It's all haunting.

For all that - and all that was very good - there was something about the story that didn't really click with me. For some strange reason I found it difficult to follow and I did think that at almost two and a half hours it was a little bit too long. As much as was accomplished in that running time could have been accomplished in two hours flat. It's a good movie, but just failed to reach the level of greatness that some have assigned to it. 6/10
2009-11-04
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.
2017-02-21
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.
2013-03-13
Hitting the Right Note
"Thank God not me. He wants us to survive. Well, that's what we have to believe."

The challenge of bringing Wladyslaw Szpilman's story to the screen could find no better conduit than Roman Polanski, whose own wartime experiences bear such tragic similarity. Aged just nine years old, Polanski was thrown by his doomed mother from a transport bound for Auschwitz concentration camp. He then had to learn how to survive the harsh realities of the Krakow ghetto, by any means available, before being rescued by the courageousness of a Polish family preventing him sharing the fate of others when the ghetto was liquidated. Polanski thus brings all his undoubted directorial talent to provide artistic expression to this barbaric period of human history, much in the same vein as the literary brilliance of another Holocaust survivor, Primo Levi. As such, he can lay bare not just the evils perpetrated, but also the stark reality that when faced with such inhumane treatment, as Levi expressed it: 'man is bound to pursue his own ends by all possible means'. In the Oscar- winning adapted screenplay by successful playwright Ronald Harwood, Szpilman is portrayed in no heroic terms, but rather as an individual with the desperation, guile, and simple fortune to survive. Harwood has stated in no uncertain terms how aspects of the screenplay were made easier to transfer to the big screen by Polanski's own contributions. In interview, Polanski has himself explained: 'I could use my own experiences in the script without making it an autobiography'. Adrian Brody, a master of the understated performance, is able to capture this individual's gradual descent into a simple mechanical pursuit of survival at any cost, and general torpor in the face of the horrors which Szpilman witnessed. Thus, the lead character, who earlier displays a sense of finely- tuned compassion for others, is transformed into the dispassionate observer of the bloody reprisals outside the windows of his refuge. Deserving of his Oscar for best performance in a leading role, and losing a fifth of his body-weight in preparation for the part, Brody became the youngest recipient ever to receive this award at the age of 29. Brody is ably supported by a largely British cast, more familiar for their work within television drama, and thus, relatively unknown to wider cinema audiences. Special mention should be made of the performances by Ed Stoppard as Szpilman's feisty brother, Henryk, and Frank Finlay as his browbeaten father. In addition, Roy Smiles is memorable as the turncoat recruit to the Jewish police, Itzak Heller, who plucks Szpilman from the line waiting to board the transport to Auschwitz, thereby saving him from sharing his family's fate. Polanski expertly explores the psychological and emotional impact upon Szpilman's family as they attempt to come to terms with increasing persecution at the hands of their oppressors. The film contains many haunting scenes depicting the Nazi regime's barbarity, but two which resonate with this reviewer are the cursory execution of a young woman for merely asking 'where are you taking us?', and the desperate wailing of a woman who had suffocated her baby in a futile attempt to avoid detection. Although this film obviously has an emotive impact on the audience, at times it can appear more removed from its subject than other feature films covering the genocide. There is obvious contrast in this treatment to Spielberg's more obvious attempts to tug at his audience's emotional heart- strings. Though Polanski deserves credit for such gritty realism, this film suffers slightly as a cinematic experience due to the fact that Szpilman's cool detachment can distance the character from the audience. However, Szpilman's amazing story allows for the introduction of ill-fated Captain Wilm Hosenfeld, whose compassion and love of music not only saves the eponymous musician from starvation or capture and execution, but also enables a re-emergence of common humanity into this bleak narrative. Sensitively portrayed by regularly cast as Nazi officer, Thomas Kretschmann, the former Nazi devotee, Hosenfeld, appalled at the brutality shown to Poles and Jews during his military service in the East, would risk reprisal to harbour several individuals from Nazi repression, Szpilman among them. So unjust that upon being captured by Red Army forces, he would be imprisoned for seven long years and tortured to death in a Soviet concentration camp in 1952, despite all efforts of Szpikman to track him down and have him released. This unforgettable encounter between Szpilman and his saviour raises this to a movie worthy of receiving the Palm D'Or. Moreover, this work marked Polanski's return to critical recognition, winning his first Academy award for direction at the fourth attempt, and his first award in the States since winning the Golden Globe for 'Chinatown' in 1975.
2016-08-30
"Please, forgive me for stealing my right of life, which you own, which is between your hands!"
It's Genius that scene when the German officer detected Szpilman hiding (about, min 200), the stare of fear on Szpilman's eyes was deeply brilliant, this gaze made him as if he was saying: "Please, forgive me for stealing my right of life, which you own, which is between your hands!"

(How a stealer could be an owner)this scene showed perfectly. The movie generally embodies the pain suffered under occupation to get the very first rights, and how silence could be the only response to the suppression of faced by the invader, seeing the people you care about the most being taken and nothing could be done except surrender. Also it give an example of the human brutality raised when the human holds a position of absolute control of the other, and notwithstanding the foregoing, a person can find the best in the worst and darkest moments, and how the humanity and respect have no exclusive religion or ethnicity.
2015-07-20
Vastly over-rated and highly simplistic
With a rating of 95 percent at Rotten Tomatoes and a place in the top 50 at IMDB I was expecting this to be a challenging film about the Holocaust. This however was not it. All this film says about the Holocaust was that life was tough then, little else. This is a rather obvious truth for everyone except Holocaust deniers, so why spend two hours telling us this. The film has story that is much too conventional and one that unfortunately lacks any great meaning.

The depiction of the Germans is perhaps the most straightforward you are likely to see. All you get is a bunch of stereotypical cinematic Nazis without any subtlety, until the final twenty minutes, when, SPOILER, Spillman runs into perhaps the only good German in all of Poland, if you go by the depiction of the Germans up to this point, who allows Spillman to escape.

This film simply alludes to some major questions instead of going into any depth. It shows a Jewish character who was from a certain point of view helping the Nazis, yet we do not see why this character is doing what he is doing. At least not in any depth.

One of the most remarkable things about this film is that it is about a Pianist, someone you would expect would have a soul. However, Spillman is simply a non-character which makes him being a pianist seem rather superfluous. This, however like the rather brief reference to the Merchant of Venice seems to be Polanski's main tool in this film: to allude to things that are deep and worthwhile, while saying nothing of the sort himself.

A brief glimpse through some of the reviews will find that a lot of critics have a rather simplistic view of the Third Reich, which may explain why they liked this rather simplistic film. One critic wrote that the Nazis were for barbarism and challenged everything that was beautiful and pure. This in turn would lead them to oppose Spillman and his profession: the professional pianist. This, however is not a rather simplistic view of the Nazi regime. The music that the Nazis opposed most strongly was modern music, in particularly the atonalism of the sort written by the great composer Schoenberg. This music was viewed by the Nazis as being crude. Hitler, himself was Wagner fanatic. However, the issue of Wagner opens up a lot of major historical issues that I can't go into. If, as some film critics are implying that this film is saying these things about the Third Reich, then I think this is a sad reflection of the intellectual state of modern critics. Although we may find The Third Reich totally repulsive we must not take the simplistic that it was a place where all great music was neglected, with the same being true for the Soviet Union. These regimes had a particular view of what was great in music, and a lot of these composers, the German composers admired by the Nazis and the Russian composers who worked within the Soviet regime are greats in music. The important thing to realise is that these regimes idealised music and other works of art and that is where the problem lies. The thinking behind this was quite often quite complex, with thinkers such as Hegel leading the way. Personally, I thought that the film made no such comment on the Third Reich, but if it did I find little validity in it.
2003-06-23
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.
2003-02-01
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.
2012-10-19
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