what part of chinatown relates directly to polanskis experiences?
I didn't say that "Chinatown" relates directly to Polanski's experience.
I said that "he has already told a part of his story within its density:" Its themes of loss of innocence, incest, the inevitability of complicity with corruption, images of evil/good and good/evil dopplegangers (Jake and the Polanski-Kitty-Kitty character/Evelyn and her sister/daughter/Mulray and the John Huston character), wastelands, water as substance of spirit and life only available as a purchase from demonic authority figures (a purchase which is instrinsically corrupting) and so on.
Polanski must have been doubly freaked and fragmented by his wife's violent murder--particularly since figures from the Manson family apparantly wafted around the drugs-and- hollywood scene of the period. Helplessness and complicity, a sense of victimization yet at the same time, having survived-Polanski may have even partied with his wife's killers in passing at some point.
So it's that plus the childhood, the displacement, the mother-death, the suvival etc. I'm not waiting for his life's story on film--As far as I'm concerned, he never has to make another film after "Knife In Water" or "Chinatown." But since he made a film about a man his age during the holocaust, I wonder what it might be like to see Polanski's story or rather, his telling of his own story through an analogue.
Maybe "The Pianist" is meant to be that analogue--as close as we're going to get now, as close as he's going to get any time in the near future.
All that watching bad shit out of apartment windows, which I mentioned above, made me think of The Tenant.
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- dave 3-04-2003 8:38 am
I didn't say that "Chinatown" relates directly to Polanski's experience.
I said that "he has already told a part of his story within its density:" Its themes of loss of innocence, incest, the inevitability of complicity with corruption, images of evil/good and good/evil dopplegangers (Jake and the Polanski-Kitty-Kitty character/Evelyn and her sister/daughter/Mulray and the John Huston character), wastelands, water as substance of spirit and life only available as a purchase from demonic authority figures (a purchase which is instrinsically corrupting) and so on.
Polanski must have been doubly freaked and fragmented by his wife's violent murder--particularly since figures from the Manson family apparantly wafted around the drugs-and- hollywood scene of the period. Helplessness and complicity, a sense of victimization yet at the same time, having survived-Polanski may have even partied with his wife's killers in passing at some point.
So it's that plus the childhood, the displacement, the mother-death, the suvival etc. I'm not waiting for his life's story on film--As far as I'm concerned, he never has to make another film after "Knife In Water" or "Chinatown." But since he made a film about a man his age during the holocaust, I wonder what it might be like to see Polanski's story or rather, his telling of his own story through an analogue.
Maybe "The Pianist" is meant to be that analogue--as close as we're going to get now, as close as he's going to get any time in the near future.
- bunny (guest) 3-04-2003 7:54 pm [add a comment]
All that watching bad shit out of apartment windows, which I mentioned above, made me think of The Tenant.
- tom moody 3-04-2003 8:06 pm [add a comment]