And, indeed, I will ask on my own account here, an idle question: which is better—cheap happiness or exalted sufferings? Well, which is better?---Fyodor Dostoevsky ---Notes from Underground There are certain people of whom it is difficult to say anything which will at once throw them into relief—in other words, describe them graphically in their typical characteristics. These are they who are generally known as “commonplace people,” and this class comprises, of course, the immense majority of mankind. Authors, as a rule, attempt to select and portray types rarely met with in their entirety, but these types are nevertheless more real than real life itself. For instance, when the whole essence of an ordinary person’s nature lies in his perpetual and unchangeable commonplaceness; and when in spite of all his endeavours to do something out of the common, this person ends, eventually, by remaining in his unbroken line of routine—. I think such an individual really does become a type of hi
Knife in the Water (1963)
"Whether it be the clammy creepiness of suburban Satanism shocker Rosemary's Baby or the cloying seediness of nilhilistic noir Chinatown, Roman Polanski has a gift for conjuring an unsettling atmosphere. Knife In The Water, his feature debut and only Polish film, is no exception. It's a slow-burning exploration of jealously, spite, and middle age - set almost entirely within the confines of a small yacht."
I wanted my first feature film to be cool, brain-worked, construed, and precisely, almost formalistically constructed. It was to resemble a classical thriller: a married couple take on board of their yacht a passenger who then vanishes in mysterious circumstances. My idea from the very start was to show a conflict-rich interaction between characters confined in a limited space. (Roman Polański, Roman. Warszawa 1989).
Andrzej, a sports journalist, and Krystyna, his wife, are driving in their luxurious car for a holiday in the Masurian Lakeland. On the way they give a lift to a young hitchhiker.
At once both fascinated by the young man’s vitality they invite the hitchhiker to join them for a day and night on the water.
Shortly after tension gradually starts to build between Andrzej and the hitchhiker as they compete for the attentions of Krystyna.
The rest of the film documents this competition that ensues between the two men.
However, the struggle is not merely between the two men, but also between the men and the woman. In the final section of the film, Krystyna refuses to remain a witness or prize and instead becomes an active participant in the events that follow. With the knife in the water the climax begins and neither of the man is unable to assert his power over the boat, the woman or each other.
However, the struggle is not merely between the two men, but also between the men and the woman. In the final section of the film, Krystyna refuses to remain a witness or prize and instead becomes an active participant in the events that follow. With the knife in the water the climax begins and neither of the man is unable to assert his power over the boat, the woman or each other.
Polański's film was arguably the first attempt of the Polish film-making to come out of the closed circle of the historicism of the 'Polish school' with its fixed repertory of topics, complexes, traumas and individual and collective obsessions. In this sense it is a completely new and fresh thing, unknown in our post-war cinema. No Polish director had ever talked like that. (Marek Hendrykowski Kwartalnik Filmowy, 1997).
