I believe that every artist always puts something of himself in his works. Above all in the cinema, the experiences lived in first person by the author enter his imagination and condition him, determining in him the will to find answers to his questions or release from the phantoms that torment him.
Roman Polanski certainly did not have an easy life, the experience in the Krakow ghetto, the violent loss of loved ones, the forced exile for events still suspended in the limbo of uncertainty, marked his existence and his works.
After attending the prestigious school of Lotz, Polanski has clear ideas about how he wants to shoot; everything he has experienced in his years of study, shooting techniques, the vision of so much European and American cinematography, the comparison with other illustrious classmates, build the foundations of his career to come, during which he will be able to conjugate in a unique stylistic rigor and drifts dreamlike and surreal (impossible not to notice certain references to the cinema of Orson Welles and Luis Buñuel).
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His is an obscure and pessimistic view of the human race, condemned to a life that runs in a circle without the possibility of escape, in which individuals are prisoners of themselves and of the horror that comes from their mind.
In his youth, the cinemas in Krakow became the privileged place of the young Polanski to escape the depression and despair of everyday life; if there is a place in which he is happy to feel like a prisoner, it is precisely between those walls in which the boundary between dream and reality remains constantly suspended.
When he becomes a realizer as a spectator, the characters he created are nothing but the reflection of his condition; the isolation, the aggressive behaviors that dominate human action, the conflicts generated by such impulses, are the protagonists of his films.
It is a cinema in which it seems to remain breathless, which also disquiets without having to show things explicitly, as in his first feature film of 1962, “The knife in the water”, in which three characters, the only ones in the film,