Polish-born to live. Polanski escaped from the

Polish-born French director, screenwriter, and autobiographer.

Roman Polanski was born in Paris on August 18, 1933, to
Polish-Jewish family. When he was three years old, his family returned to
Poland, settling in Krakow. During World War II, when Poland was invaded and
occupied by Nazi Germany, Polanski’s family was forced to live in the Krakow
ghetto, a cramped section of the city where all Jews were forced to live.
Polanski escaped from the ghetto when he was eight years old after his father
cut a hole in a barbed-wire fence. Soon after, his parents were sent to
concentration camps. Polanski spent the remainder of the war posing as a non-Jewish
orphan and was taken in by several Catholic families in rural Poland. Shortly
before the war ended, Polanski returned to Krakow, selling newspapers to make a
living. His mother was killed in the Auschwitz concentration camp, but he was
reunited with his father when he was twelve.

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 2.Polanksi’s introduction to films

Polanski, who had never received a formal education, later
enrolled in a technical school. As a teenager, he also worked as a child-actor
in radio shows and appeared as a stage actor in a variety of productions. In
1954 he enrolled in the Polish Film School at Lodz, graduating in 1959.

3.Polanski films.

Polanski won five international awards for his fifteen-minute
student film Dwaj ludzie z szafa(1958; Two Men and a
Wardrobe). His first full-length film Knife in the Water attracted
praise from critics and audiences alike, and Polanski began travelling between
France, England, and the United States to work on motion pictures. In 1969
tragedy struck when Polanski’s wife, the American actress Sharon Tate, eight
months pregnant at the time, was brutally murdered in their Los Angeles home by
followers of Charles Manson, a deranged cult leader who used sex, drugs, and
violence to control his followers. Polanski was in London at the time of the
murder and later left the United States to permanently settle in Europe. He
obtained French citizenship and moved to Paris, though he frequently returned
to Hollywood for filmmaking projects. In 1977 Polanski was arrested on charges
of drugging and raping a thirteen-year-old fashion model in the Los Angeles
home of actor Jack Nicholson. While released on bail, Polanski fled the country
and never returned for his trial. Due to his legal status as a fugitive from
justice, Polanski has not since returned to the United States. However,
Polanski has continued to make films produced by British, French, Italian, and
American companies. In 1984 he married French actress Emmanuelle Seigner, who
has starred in several of his films, including Frantic (1988), Bitter
Moon(1992), and The Ninth Gate (1999). That same year,
Polanski published his autobiography titled Roman. Polanski’s
films have won numerous awards, including the Grand Prize from the Tours Film
Festival for Ssaki (1962; Mammals), the
International Film Critics Award for Knife in the Water, the
Venice Film Festival Award and the Golden Bear Award from the Berlin Film
Festival for Repulsion. He also received an Academy Award
nomination for best screenplay for Rosemary’s Baby, the Golden
Globe award for best director and an Academy Award nomination for best director
for Chinatown, and the BAFTA Award for best picture and the
National Society of Film Critics award for best picture for The

3.1 Knife in the water

 Knife in the Water tells a story of limited
spaces and intense circumstances. The thriller involves a married couple who
take a young drifter with them on their yacht for a brief retreat. Secluded on
a boat in Poland’s Masurian Lake District, with conditions ranging from
aggressive storms to dead calm, there is nowhere to escape, and changes in
weather signal changes in mood. The characters are entirely isolated; not even
random extras appear in the background. Polanski sought to make a simple film
about opposing characters forced to confront one another, about establishment
battling anti-establishment in an intimate, airtight setting. His personality
inhabits every aspect, from investigations of claustrophobia and divergent
personalities to clever framing on a cramped boat set. And through his artistry
and skill, Polanski overcomes an impossible shooting location and the outward
minimalism of the story to construct a tale defined by the profound
relationship between its suffocating backdrop and psychological potency.





Roman Polanski’s first English language film, this
black and white gem is a foray into the world of someone becoming unhinged and
the inevitable consequences to those around them. Repulsion is a hybrid –
combining the effects of psychological horror with traditional hauntings and
sneaking in a slasher scene worthy of Norman Bates.One turn off for some who
watch Repulsion may be the mood-establishing build-up. There is not much action
for the first hour, but the slow scenes are integral to the plot and help to
involve the audience in Carole’s loosening grip on reality. Her changing
interactions with her sister, co-workers and men as she withdraws into herself
are expertly crafted in the finest story-telling tradition. If you have a short
attention span, hang in there and pay attention. You won’t be disappointed.

3.3 Cul-de-Sac

Cul-de-Sac bring a new impetus to a now inbred, cult-ridden, mood. For
he remains in contact with certain positive enthusiasms: a robust, amiable
Surrealism; a sense of the weight and strain and pain of everyday, realistic
experiences; and a huge, mischievous enjoyment of the melodramas which he
parodies…. Polanski’s humour, like the Polish cinema, is profoundly
existentialist.Cul-de-Sac is a case of style transcending subject:
indeed, if the film is so difficult to write about … it’s because so much of it
is a meditation in the odd visual details through which Polanski keeps turning
the everyday into a sort of fantasy-land—eg, the simple act of drinking is
imbued with sinister overtones because the camera-angle stresses the muscles
pulling away in the men’s throats. The script concocts some brilliantly
eccentric re-circuitings of the dramatic current—thus the suspense-making
situation of friends and child calling for lunch with the gangster-dominated
couple ends, not with a plea for rescue, but with hosts and friends venting all
their long-pent-up hostility in one blazing row. In its construction the film
has an inspired dottiness, as in the slow spiralling-down of the terror
situation to a casual practical joke, which in its turn escalates through a
sexually highly-charged situation to the final killings. 

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