Cebalord Very best movie i ever watch

Bereamic Awesome Movie

Catangro After playing with our expectations, this turns out to be a very different sort of film.

Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Steve Pulaski Often eclipsing Roman Polanski's early and remarkable films are his contemporary allegations, which we've all read about time and time again thanks to endless tabloid cycles that circumvent and reveal nothing new (same goes for Woody Allen), and circumstances as a young child, who saw his mother killed in Auschwitz and himself subsequently enduring many life-or-death situations in order to escape Nazi Germany. When Polanski left Germany in the early 1960's, he was a poor drifter with few belongings and fewer ideas about what he could do to maintain and forge a solid living. His angst and doubt - in addition to ideas of sexual tension and a bitter generational divide - are encapsulated in his debut film, Knife in the Water, a film with only three actors, no extras, an isolated setting, and a script bent on conversation with a venomous bite.The story begins with Andrzej (Leon Niemczyk) and Krystyna (Jolanta Umecka), an older couple who are driving to a lake to spend time together on their yacht in Poland's Mansurian Lake District. On the way, Andrzej nearly hits a young drifter (Zygmunt Malanowicz) as he wanders onto the road, but makes it up for it by offering the young boy a ride. When the three eventually arrive at the lake, Andrzej, who has taken a liking to the boy's ideas and maturity, offers him to tag along on their yacht. The boy learns a variety of tips about survival and boating from Andrzej, as gestures slowly shift from kindness to hard lessons and two men vying for the attention of Krystyna.After brief sequences on land, Knife in the Water takes place entirely on water, simultaneously freeing its three subjects and confining them to the only kind of stability they know on rough currents - a boat where they cannot escape anyone else on board from a distance. During this time, no other boat or yacht is seen cruising along the water, nor are any extraneous parties referred to or scene throughout the course of this entire film. It's as if this film takes place entirely in a world only inhabited by three people, and the fact that Polanski tackles this kind of ambition through ways of small-scale filmmaking in terms of setting and characters is astonishingly bold for a debut.Knife in the Water is a film of dualities that occasionally conflict but otherwise function germane to one another. As stated, the environment these characters are in is simultaneously restrictive and mentally freeing, despite their choice to use it as a space that closes in on them ever-so slowly with their pervasive bickering. In addition, there's a delightful meshing of older, worn sentiments from a middle-aged man and a young opportunist who possesses drive but lacks willpower and experience to better himself. Finally, there's the titular object of the film, which is lost in the vast sea early on in the film. The phallic representation of the knife could mean many things, but it's ultimately a defining force in the constant battle for Krystyna in which both men engage. The simple is also justifiably representing the discernible sharp edge the three characters bear in their personalities throughout the whole thing, but how minimized and ineffective their stab is once placed in a greater setting (an enormous body of water, with the only other force to work alongside it being the open sky).Knife in the Water is as murky and questionable in its themes and ideas as a filthy body of water, but perhaps such is expected when you bring three troubled characters out on the pure waters of Poland. Polanski shows off a wonderful skill for making the large environment of the endless body of water slowly close in on its subjects as more particular, bitter words are exchanged and a wave of inferiority and inadequacy washes over the characters like a dip in less-than-clean-waters. This is a seriously commendable film in size and scope and an even more fascinating work as an examination of the many dualities and opposing forces, both physical and metaphorical, we see operate on a daily basis.Starring: Leon Niemczyk, Jolanta Umecka, and Zygmunt Malanowicz. Directed by: Roman Polanski.

Robert J. Maxwell It's a rather long movie for what it has to say, and I'm not sure what it has to say.A man and his wife (or girl friend) pick up a young hitch-hiker and for no discernible reason invite him to spend the day sailing on the driver's smallish schooner. The older man shows the younger how to handle a sail boat, acting a little pompous in the process. The young man becomes truculent. The two men punch each other and the hitch-hiker falls into the lake. He's claimed earlier than he can't swim although, in fact, he swims well. The older man dives overboard and searches. Unable to find the other guy, he becomes frazzled and swims to shore. The girl is left alone on the yacht.At this point the younger man swims up to the boat, climbs aboard while the girl watches him blankly from a distance. They make love. They finally take the boat in towards the marina and the young man leaps ashore and disappears before they reach it.The driver is waiting for her on the pier. He thinks that the young man has drowned and he feels responsible, talks about going to the police. Driving along in the car, she reveals that she and the younger man played doctor together. He doesn't believe her. He stops the car in front of a sign that read "Police, 5 Miles." The couple sit in silence. Fade Out.Now, this review must sound a little dull, I know, but it's an accurate image of the film itself which is full of irrelevant details, screwy scenes, and non sequiturs. The acting is passable, though the young man's and the girl's voices were dubbed later. The girl, Jolanta Umecka, is rather more than passable. At the opening, with her bound hair, harlequin glasses, and stiffly held neck, she looks like a nerd. When she sheds all those properties and dons a modest "bikini", she no longer looks like a nerd, and her sensuous features have a predatory cast. Wow.But this belongs to early Polanski, like "Cul de Sac." Beautiful babes in a will-of-the-wisp story. He went through a phase of near masterpieces later -- "Rosemary's Baby" and the superb "Chinatown." Lately he's been coming out with films of mixed quality, sometimes as puzzling as his first efforts.I'm leaving out "Two Men and a Wardrobe" because that's borrowed from theater of the absurd and doesn't fit the pattern. I haven't seen any of his earlier work other than those I've mentioned.Some have obviously gotten more out of this than I did. I thought it was okay, but not more than that. Too much pointless rambling.

Boba_Fett1138 Say what you will about Roman Polanski but boy, can he direct brilliant movies! This movie was not only Polanski's feature length directorial debut, it also was the first and only Polish movie he had ever done, that immediately earned an Oscar nomination as well.In all of its simplicity, this is a strangely haunting movie. There really is not all that much to its story, which actually only adds to the movie its atmosphere and constant tension. Because we know so very little about the 3 characters in this movie, we as the audience, also never fully know what we can expect from any of them. You could call this a slower movie but never a boring one. It's simply far too intriguing for that.But what also makes this movie great is its approach and visual style. It has some beautiful cinematography and some great compositions in it. Some of the scenes are build up extremely well, especially the ones that consists out of some very long shots. It's a movie made with lots of eye for detail and also with lots of love and passion for cinema. Normally these sort of movies tend to come across as incredibly pretentious but never a Polanski movie! He simply is an unique director, who doesn't need much story or dialog to tell a story, with multiple layers- and depth in it.I won't pretend like I love everything about this movie, it still has its flaws and weaknesses but overall this remains one real intriguing and exceptional movie!8/10http://bobafett1138.blogspot.com/

Pierre Radulescu I firstly saw Nóz w Wodzie sometime in the sixties. Throughout the years I forgot some details of the plot, while I kept the essential. I remained with the impression of one of the greatest movies ever. I watched many other of Polanski's works, none of them has succeeded to replace this one in my soul. Many of his movies are great, this one is unique. By the purity of his minimalism? Maybe. You see, his other works started from very generous stories, offering full potential to create great movies. This one has practically no story. A couple is driving their car toward a lake for two days of sailing, a hitch-hiker appears as of nowhere, they invite him to join, their stay on the boat is tensioned by obscure conflicting impulses, a fight takes place, the unknown guy leaves toward nowhere. Drowned (as the male believes)? Alive (as the female knows)? Or is it just the woman imagination? After many years I encountered the movies of Kim Ki-Duk. 3-Iron made Nóz w Wodzie come to my mind. It seemed to me that both movies were sailing on the same waters. I related 3-Iron to Nóz w Wodzie, and then I related all Kim Ki-Duk films to 3-Iron. They are exploring two universes: ours, where what matters is a good job, a good car, a good house, a good marriage (to be read a spectacular wife), and the other universe, where everything is just absurd (by our standards). The hitch-hiker in the movie of Polanski, the drifter in the movie of Kim Ki-Duk, are just visitors: our reaction is of open hostility (if we are the subjects in our world), sometimes of obscure attraction (if we are rather the objects, dreaming escapes). Hostile or attracted to them, it happens the same: they remain just visitors, we'll never know anything about them.