Ok, we’re totally getting into this, hardcore, all go no quit, Harry Stamper style. Hopefully from this moment forward, for at least 40 years, we won’t have massive breaks in the talky talk on this page like we just did (unless Roland Emmerich was right about 2012, in which case I’m out to join up with a limo service).
Some peeps should be helping soon, making this place as rich and diverse of a cinema café as Roman Polanski’s filmography. SPEAKING of which:
“Speaking in Tongues” – Roman Polanski
NOTE: “Speaking in Tongues”, a fine Talking Heads song, refers to some sort of series to watch based on people involved, commonalities, or another aspect - in this case, a glance inside a director’s oeuvre; look for this often, as I quite enjoy discovering the themes and styles of filmmakers throughout their work. This time, it’s the man who’s no longer allowed in America ever since his rape charge in the early 70’s…. but let’s not delve into this little side note (his interesting and slightly tumultuous and tragic life could take a while) and instead look at the MOVIES!
I decided to take a look at some of the films he made between the 60s and 70s. Even though Polanski was fairly young at this point, these could be regarded as some of his greatest works, and some I have to admit I am fairly enamored with.
Repulsion
The most enigmatic of the bunch, Repulsion represents the Polish director’s first English language film. Catherine Deneuve stars as a shy, isolated woman undergoing the titular action, apparently terrified by the opposite sex. After her sister leaves for a trip, she conjures up frightful images of home invaders and violent acts in her apartment, all of which are completely imagined… or are they? Don’t expect clear answers in this psychological thriller, as it appears to be less about plot and more about suspense (of which there is plenty).
Rosemary’s Baby (aka "The other one about an isolated woman in an apartment")
People always have asked for a “really” scary movie around Halloween, something that will entertain their desire to get freaked out and then proceed to act like they didn’t. Had I seen this movie before the last time I was asked this, it would’ve been one of the prime recommendations.
Rosemary Woodhouse (never knew Mia Farrow was ever that young) just moved into a nice apartment with her film-star-wannabe husband, has some nice neighbors, and wants to have a baby: sounds primo, except that her neighbor might be satanic… just details? Not for Rosemary, who’s suspicion of a conspiracy centered around her and her unborn child grows throughout this truly, TRULY, creepy and chilling film.
Chinatown
All three of these films are primarily listed in chronological order (1965, 1968, and 1974 here) but I would add the secondary order of quality: if the first two films were a 7 and 8 respectively, this would be a well-deserved 9 (maybe 10). Polanski comes back to the U.S. just close to 5 years after his wife’s brutal murder to make this film noir with his signature European style.
Jack Nicholson stars as Jake Gittes, a private eye who very much seems like an anti-hero, but continually comes to surprise the audience and other characters as he assists the recently widowed Mrs. Mulwray (Faye Dunaway) in discovering the truth behind her husband’s murder. Without giving too much away, it involves disturbing family relations, crazy director cameos, a plethora of water, sliced noses, and Little Italy…. I mean Chinatown.
What really gets me, without belaboring on this subject, is that I had no idea where this film was going, how it would end, and above all, how completely enthralled I was in this original story from more than 35 years ago. It’s old but still fresh, and yet Hollywood can’t find anything to compare or compete; time to yell “Yah!!!” if you’re a fan of the Ouija board becoming a movie (and if you did just yell, shame on you).
All three of the early films by the diverse director cement his ability to create a fantastic thriller, among other things (for recent proof of this, see Ghost Writer).
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