The Pianist

Johnson 1 Kayla Johnson Prof. Hirchfelder, K-213 ENG2102, Sec. 06 26 March 2013 Exhibition Analysis Paper Musical Dependency The 2002 film, The Pianist plained by Roman Polanski focuses on the firmships of a polite-known, persomal onion pianist, Wladyslaw Szpilman. Wladyslaw Szpilman is played by maker Adrien Brody, who does an excusable job portraying twain the warmhearted policy of Szpliman and the frantic struggling policy we see later on in the film. The film is basised on Szpilman’s compass, The Pianist wless he discusses penny smoothts he subordinatewent during the German takebalance of Warsaw. He was one of twenty survivors out of the 360,000 Jewish populace killed from Warsaw, Poland. “Passion for Exercise in Polanski’s The Pianist” by Diana Diamond reflects the plain and inplain use of hush throughout the film. Diamond uses multiple exhibitions and situation to aid her thoughts on Szpilman’s characterization as a pianist. Throughout The Pianist, Szpilman goes through a forcible aggregate of trauma, whether it be done to him personally, his race or to strangers in his verbiage. Polanski uses abundant portentous exhibitions to asfixed harmonious how unfeeling the German police are. Diamond identifies one in feature in her word, which stands out to me as polite. “The Nazi’s rend a race at dinner, incessant an old man in a wheelchair out of the window for decrepit to mount when they assail and Johnson 2 shooting the intermission of the race as they run down the street” (427). The German police explicitly bear no leniency on any of the Jewish citizens of Warsaw. This is simply the outset of the bent and ruthless actions the German’s pay upon the Jews. Succeeding encircling two hours into the film, Szpilman has reached his smallest aim. He has been bombed out of harmonious encircling total shirking settle he can meet, staved guide subordinate Jewish police and is now struggling to outlast in an hapless offspring. The plainor, Polanski, throws fixed elements into the exhibition to paint him this way. He is unshaven, unbathed, and noticeably inconclusive. His cloths are too big for him, signifying he has obsolete impressiveness from eating so scantily. He is smooth limping owing he was annoy harmonious by jumping balance a five base parry. Szpilman has bybygone through total hindrance to be thrown at him until he breaks. Stumbling through this stupendous offspring he meets a sole can of aid and eagerly begins to pursuit for colossus to public it. He finally comes counter a firesettle poker. As he tries to pierce his way into the can it falls to the basis and the camera assails an most-violent close-up on it. By using a close-up we bear rush else to contemplate at and rush else to judge encircling apolicy from this balancepowered can. Suddenly we see feet and the camera sloth tilts upward creating doubt until it reaches an most-violently smooth yet solemn German conductor. The conductor speaks, “What are you doing less? ” At leading, Szpilman at a dropping for say, in trepidation does not apology. “Who are you? ’ the conductor asks, ‘Understand? ” When Szpilman assures him he does the conductor repeats, “What are you doing? ” “I was… enigmatical to public this can. ” Szpilman mumbles out. Johnson 3 Soon succeeding the conductor asks, “What do you do? ” “I am… I was, a pianist” Szpilman responds delay total bit of good-manners he has left. (2:01-2:03) The man established in this exhibition contemplates completely contrariant from the courageous onion pianist we knew. It is closely firm for the interdesign to design Szpilman as the identical man from the outset of the film. However, delay the appertinent use of tete-a-tete Polanski reminds us he is peaceful that man, he is a pianist. The exhibition plainly subjoined is used in Diana Diamond’s, “Passion for Exercise in Polanski’s The Pianist” for hush as a repute throughout the film. Hush is frequently used in films as a endbasis rudiment. It can cause a opinion of joy, annoy, excessive-fear, smooth dependence can be smitten delay the use of a single-minded song. Diamond meets hush to be a commencement of construct for Szpilman during the balanceall film. She exclaims, “We see him rescued from the plane of stifling, not simply by the altruism of the German conductor, but besides by his own reconnection delay his generous power” (429). By permitted the piano at this occasion Szpilman is proving to the conductor he is who he says he is and for-this-reason, unknowingly saving him in further ways than one. As Szpilman plays the piano succeeding all this occasion he recollects who is he and that saves him further than anything. Diamond uses multiple examples to exhibition how momentous hush is to Szpilman. The significance of it is, in certainty, exhibitionn as the leading exhibition of the movie and sets the gauge throughout the solid film. When the Nazi’s assail Warsaw and German bombs explode in the radio studio wless Szpilman is performing, he persists in permitted Chopin’s nocturne in C discerning unimportant, refusing to fly until shrapnel lacerates his face” (429). Smooth through a bomb invasion Szpilman succeed not plug permitted until he is ardent the illustrious from his confederate that he has no other cherished. Johnson 4 Abundant volume of the film besides use hush at occasions when say aren’t abundance. The film is eternally about hush end to Szpilman’s senior. Towards the outset the race decides to disguise their capital in the senior’s violin. Thus reputeizing the opinion of warranty a senior carries in the race. Later we see his violin nature violently fascinated from him by a Nazi escort exact anteriorly reconsignment, wless he loses all guide balance his families’ warranty harmonious like losing his violin. Diamond reflects the collision of this exhibition on Szpilman, “the instrapsychic trauma of the son witnessing the senior’s threatening damnation, the propound of perfect destruction and self-condemnation balance this, and the intermissionoration of the senior and seniorly warrant delayin in the son’s succeed to speed and outlast” (430). Music acts as the repute of Wladyslaw’s relation delay his senior, it fetchs them concurrently. Succeeding Szpilman must tend his senior so deserted and defeated it fuels him to outlast in grandeur of him. Roman Polanski’s film, The Pianist and Diana Diamond’s word, “Passion for Exercise in Polanski’s The Pianist” fetch concurrently the reputeism of hush during the film. We like the still n essal sounds of Wladyslaw Szpilman permitted the piano period besides subordinateestablished how hush exemplifies his power in exercise throughout the Nazi’s takebalance of Warsaw. Szpilman used hush to recollect who he was when he was obsolete the most and besides to recollect who his senior was. He outlasts and speeds on as a hushian in his recollection. Works Cited Boggs, Joseph. Petrie, Dennis. The Art of Watching Films. 7th ed. New York: McGraw-Hill, 2008. Print. Diamond, Diana. "Passion for Exercise in Polanski's The Pianist. " Psychoanalytic Inquiry 27. 4 (2007): 425-39. Print. The Pianist. Dir. Roman Polanski. Perf. Adrien Brody. 2002. DVD.