SYNOPSICS
Knife in the Water (1962) is a Polish movie. Roman Polanski has directed this movie. Leon Niemczyk,Jolanta Umecka,Zygmunt Malanowicz,Anna Ciepielewska are the starring of this movie. It was released in 1962. Knife in the Water (1962) is considered one of the best Drama,Thriller movie in India and around the world.
Well off Andrzej and Krystyna's marriage is at a stage where familiarity breeds contempt, that contempt which is outwardly shown only behind closed doors and only when an incident of some sort sets off one or the other. While driving through the countryside on a Sunday on their way to the lake to embark on an overnight sailing excursion, they almost run over a young male hitchhiker. Despite the antagonism between Andrzej and the hitchhiker, Andrzej offers him a ride as far as the marina. By the time they reach the lake, their antagonism has dissipated enough that Andrzej asks if he would like to join them on their sailing trip. The hitchhiker accepts despite knowing nothing about sailing. As the sailing trip progresses, the antagonism between the two men begins to increase again, fueled on both sides as each strives to be the alpha male. Andrzej needs to show his superiority, while the hitchhiker needs to show that his young age and inexperience, not only with sailing but with life in...
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Knife in the Water (1962) Reviews
The games people play
Polanski's first feature, on paper, sounds like nothing more than a run-of-the-mill claustrophobic thriller set on a boat - a couple takes a loner on board, you figure out the rest. 'Dead Calm', 'The Deep', etc etc etc. Instead, 'Knife In The Water' is an agonisingly tense look at male posturing & ego, the husband & hitch-hiker constantly challenging each other in every possible way - sailing prowess, games of fiddlesticks, knife throwing & just generally strutting about. There's almost never a single moment where the two aren't trying to trump each other, & one gets the impression that it's not even to impress the girl, so much as themselves. As the film progresses, the tension mounts & tempers fray. In a Hollywood film, this would build up to a dramatic climax of violence & catharsis, accompanied with thunder & lightning. Polanski doesn't let us off the hook that easily - things get rough, but the games continue, right until the very end of the film. Shot in black & white, with a cast of three, & virtually one small location, 'Knife In The Water' puts bigger films to shame. No stars, no pyrotechnics, no special effects, probably very little budget, & it's completely riveting from start to finish. It was nominated for the Best Foreign Film at the Oscars - the first feature of a young Polish film student - & rightly so. A brilliant start to a brilliant career.
Polanski's film has artistic integrity...
In Polanski's feature debut, "Knife in the Water," strange power games were again to the fore, with ridiculous macho rivalries arising when a young looking man hitches a lift with a sportswriter and his attractive wife Though the plot itself is slim, the film is distinguished by Polanski's precise visuals, which point the shifts in allegiance between the three characters through subtle groupings; impressively, although almost the whole film is situated on a small yacht, the effect is always cinematic rather than theatrical Polanski's film is implicit, ingenious, mesmerizing, and has artistic integrity It is filled with a very different sort of suspense There is no violence The suspense is hinted at, suggested, refined tautly, glimpsed, did-he-mean-what-I-think-he-meant? The rich man's confidence was in his possessions, among which was numbered his attractive wife, lying in bikini, teasing by arousing expectations between them on the deck The student's confidence, casual, almost unaware, was in his very being... The husband resented the youth, the strength, the "cool," the easy virility of the student and worked out a compulsion to keep challenging them, to try to show his superiority Polanski was fair each had his own strengths and skills; but the one obsessively resented the others
Lubricated Blade
There is nothing more thrilling than discovering a natural filmmaker for the first time. There are only so many, and you can only have menarche once. Its an introduction into another life. I first saw this in 1965 at the Orson Welles Cinema near Harvard Square. We were told it was made behind the backs of Iron Curtain thugs, only surviving because of international attention. (I wouldn't meet Tarkovsky or Kieslowski until later.) And that it was made by the fellow who had made the striking "Repulsion," which at that time was anticipated but yet unseen in the States. I've since learned some striking things: that both Polanski and his co-writer wanted to play the hitchhiker and indeed it is Polanski's voice. And that the mistress who seems only half alive was in fact played by a non-actress they found by looking at swimming pools. Also that the situation was suggested by a long planned and discussed Orson Welles project ("The Deep") that was started after this and never completed. The writing is good of course, especially the central image the title denotes, but the camera finds the perfect place always. It is like Altman's camera (after this) that discovers the action rather than, say Spielberg's where the action is obviously happening in such a way to be cleanly seen by the camera. And so much harder on a boat! But the interesting thing about such an introduction to a filmmaker is the relationship that follows: we know certain things about how he thinks and sees. We expect the conversation to continue and mature over the years. And what a rocky ride this man has taken us on, through perfectly created worlds (in which I include "Ninth Gate") but also through pure dreck and rank sentimentality (both of which tag "The Pianist"). Sometimes he's internal to the narrative, even the charmed actor. Sometimes he is outside the narrative, pulling strings (as with this film) but sometimes it is clear he never got out of bed. As with Kubrick and so many others, you really must start at the beginning, which essentially means here. Ted's Evaluation -- 3 of 3: Worth watching.
Roman's Spring
The first Polish film to be nominated for a Foreign Language Oscar, Roman Polanski's "Knife in the Water" is one of the most impressive director's debuts I've seen. The story is simple. A wealthy couple on its way to spend a weekend on their yacht picks up a young and attractive hitchhiker. The middle-aged husband, a successful and cynical sportswriter invites the young man on board, perhaps to show off his nice yacht, his seamanship, and eventually, his superiority. His young and sexy wife does not say much but as the yacht moves along and tension between two men rises, she seems to enjoy the presence of a passenger and the obvious competition between them for her attention. Made of the very simple material, the film is a brilliant psychological thriller that shows the young writer-director's extraordinary ability to create menace on the screen throughout the profound study of the characters' deep hidden emotions. Not as widely known as "Chinatown" and "Rosemary's Baby", "Knife in the Water" is the perfect introduction to the work of the director whose craft in creating disturbing studies of anger, humiliation, fear, and sexuality is truly remarkable.
One of the powerhouse debuts is a minimalist, existential suspense film
Knife in the Water is the kind of film that works beautifully at making so much out of seemingly so little. A little tale of a couple who ask a hitch-hiker they pick up to come along with them for a sail on the lakes is all the story there is. But within that story are little bits that keep the story pumping, alive. There's also a style that lends itself to a kind of film-making that was just budding with the new-wave movements of the 60's. Roman Polanski, who co-wrote and directed the film (as well giving an entire voice-over to the hitch-hiker), is careful in reeling in the emotions out of little dialog, and is also granted two tremendous assets aside from the actors: 1) Jerzy Lipman's crisp, free-flowing, and usually tight (to get the tenseness of the three characters) b/w photography draws one in by it's deep focus and sometimes documentary feel. 2) Krzysztof Komeda's jazz soundtrack. Polanski uses the riffs of the soft, easy-going side of the weekend-out; the up-beat pacing when a humorous situation occurs when the hitch-hiker loses control of the boat; the variations that sometimes occur with the simple shots of a boat sailing fast and slow across the water. Komeda's score for the film is among one of the better ones I've ever heard, in regards to it being a great work on it's own, and to corresponding to the film (he would later provide the memorable theme to Polanski's Rosemary's Baby). The acting itself is interesting in what is not said between them, what has to be said by their expressions. The fact that the three have distinct personalities adds to the tenseness- it would've been more conventional if the hitch-hiker (Zygmunt Malanowicz) wanted to come on and stay, but Andzrej (Leon Miemczyk) is the more insistent one. Krystyna (Jolanta Umecka), meanwhile, never says more than the other two, but is perhaps smarter as well. One thing that definitely shows the film breaking away from the attitudes of the 50's in the emphasis on the sexual tension, and the actors convey that very well when called upon - adding to this, Umecka is a total, natural knock-out, if not entirely in performance (though the quiet, inward quality is when she's at her best). Simply, Knife in the Water is an observant, amusing, eye-widening experience, and it ranks as one of the premiere debuts of cinema. A+