Por Alfred Eastwood
A finales del año pasado se desató una gran polémica que de nuevo tocó la vida de Roman Polanski, director de cine polaco, que ha padecido toda clase de señalamientos y tragedias personales. From the condition of the second world war and the murder of his beautiful wife Sharon Tate at the hands of the redoubtable Charles Manson to the most recent accusation of rape of a child under fourteen more than thirty years. But it is not Polanski's personal life than I care to talk, if not his work, although as is often the case, it is very difficult to disentangle from each other. A Roman Polasnki
same thing happens to many European directors, their films are labeled as too commercial by the Europeans and as slow by the Americans. The interesting thing here is that everyone has the right, because even many of his films blend the two ingredients in their stories. Known
in Colombia, primarily by the critically acclaimed and award-winning The Pianist (The Pianist, 2008), Polanski has developed a career spanning more than forty years with titles as memorable as Chinatown (Chinatown, 1974), Baby Rosmery (Rosmery's Baby, 1968) The Tenant (Le Locataire, 1976) and Bitter Moon (Bitter Moon, 1992). Beyond
his controversial personal life, the films of Roman Polanski is also a window into one of the worlds most rugged and can be horrific: the human mind and twisted possibilities. Unlike other authors, Polanski's films could be as simple stories, no fuss, we count much more than it seems. It is difficult to maintain tension when you have a movie about a couple and a boy who surf and get lost in a small sailing boat or a tenant who keeps locked in a room with a woman who has attempted suicide or a pianist that hidden hopes to save at the end of World War II. Roman Polanski succeeds in doing so, demonstrating a classic cinematic style are more important where the good stories that camera tricks.
Although not his most famous film, one of the best stories is that of The Tenant, 1976. In this film, Polanski is Trelkovski, a loner who moves into the apartment a young woman who has just attempted suicide. In an interesting twist in the script, Trelkovski decides to visit the dying woman and begins to get involved to feel firsthand the psychological and emotional instability of a traumatic event. Trevolski is not only a tenant of the apartment, does not feel comfortable with himself, as if his body also was an occasional home.
The film would not be as interesting if it were a conventional thriller, but this is not possible in the films of Polanski, in a move that allows us to be formidable third player at the table to feel the same way through silences Trelkovski endless dead time and trouble to finish at a time dramatic and psychologically terrifying movie that extends the audience for hours, months, days.
experienced similar sensations in movies like Bitter Moon, The Pianist or Frantic Search, in which using a refined staging while elementary, we can feel firsthand the heartbreak, fear and uncertainty of the main characters.
is possible that many people bother Polasnki as a person, but the fact is that many of us bother his films, but not because they're bad or anything, but because they are an uncomfortable intimacy balcony of his characters, reminding us as dark each of us.
