Recently, I watched two of Roman Polanki’s films -- His debut feature, Knife in the Water (1962) and his later Hollywood production, Frantic (1988). Over two and half decades apart, the two films are markedly different in story, feel, and production value. However, I’ll note three (plus one as a bonus) consistencies between both films.
First is Polanski’s reoccurring use of the “dirty” frame. Either in the wide shots-- Harrison Ford’s suit-jacket covering the entire left side of the frame as he questions the concierge about his wife’s disappearance--or the close-ups--a piece of the hitchiker’s cheek as he gazes at Leon Niemczyk’s emotionally estranged wife--Polanski uses the dirty frame to create an intimacy with the character who is viewing.
Second is Polanski’s attention to ambiguous relationship tensions. In Frantic, Harrison Ford’s beloved wife is missing, yet he is constantly being eyed by his much sexier and much younger partner in crime, Michele. The obviously unhappy wife in Knife is constantly exchanging glances of compassion and interest with the hitchhiker, as her husband stands idly by.
Third, is the filmmaker’s unique use of the slow built tension. So slow is Polanski with his exposition (or letting us know what is actually exposition) that half-way through each film I asked myself “what has really happened up to this point?” However, one could argue that the final climactic pay-offs are that much more rewarding for the audience.
Finally (and as a bonus) is Polanski’s inclusion of seemingly swanky jazz soundtracks. Though each film had a different composer, they each seem to apply intense saxophone solos at odd times--while the characters are resting in a taxi cab, or relaxing on the deck of their sailboat. Perhaps Polanski hopes to allude to the intensity of the final climactic moments that will come an hour later, and five minutes before, the film ends? No matter, the use of unusual music is interesting, and makes you question the importance of every moment in each film.
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