Whet the suspicion, in every piece of puzzle that reek in men and in place, some with rough and some smooth, burn in an unsettled hostility to the limits. Expelled to the edge of delusion and forced to dance on the brim of chaos. The inch of the mind throwing away for an infinite loop than a trail running away and so was the beginning of Roman Polanski with Knife in the Water.
This is Polanski’s first film, featured an inch perfect, persistent, and dogged around the three characters in a story of rivalry and sexual tension. Knife in the Water (Nóż W Wodzie) made in 1962, Polish language film co-written and directed by Roman Polanski, epochs communist Poland and the heights of cold-war. The film was nominated for Academy Award for Best Foreign Language Film.
A tenacious grip is perhaps the effective word in describing, Knife in the Water. From the first scene in the film, where Andrzej and Krystyna are driving down an unpaved lane on their way to a boating trip, to the last image of the car at a crossroad, The characters undecided upon which direction to take, the movie infuse a sense of dread— in all the endless road one threads and nothing could be more frightening than a fear you cannot name.
The film stylishly introduces the characters. The first view of young Krystyna at the wheel of the car, Andrzej, her husband finds fault with her driving, she stops the car as they silently exchange positions. The audience grasped tight as they understand that the married couple are accustomed to each other’s assaults, and that their relationship will be a subject of the narrative.
Soon after, the couple encounters a young boy standing in the middle of the road, refusing to budge in his attempt to catch a ride. In anger for the boy’s position, Andrzej swears and drives uselessly close to the wanderer before stopping the car. In a pattern that will be repeated throughout the film, he chastises and dismisses the young man before taking him into the back seat, a situation, obviously, similar to the abusive relationship between him and his wife.
They arrive at the harbor that holds the kayak, seeming upbeat to rid of their unwanted guest. But when the young boy begins to leave them, Andrzej calls him back, inviting him to join their overnight excursion. The young man hesitates, But Andrzej asserts him further, only to prove his point to outperform the younger man and succeeds him to join the board.
Indubitable-Andrzej who’s still a macho, worthy of his attractive wife, raise the sails and take the boat out of harbor. The husband wife duo fits so neatly, in the crook of him, chest puffed. The sarcasm gradually grips between Andrzej and the Wanderer as they buck for the attentions of Krystyna. The extremity of both the men blow with the tide when Andrzej taunts the young man with the latter’s treasured pocket knife, which is accidentally lost overboard.
At sunrise, as the young man and Krystyna sit upon the deck, the predicted violence erupts, Andrzej having pocketed the young man’s knife and desperate to reclaim his sexual virility, reveals that he has the taken the weapon, daring the young man to come forward and get it. When the man, himself a vision of the knife on the water, attempts to do so, the knife falls into the lake. A fight eventuates Andrzej pushing the wanderer unto a rig that juts over the water.
The couple look frost as they search for the wanderer. Krystyna declaring that Andrzej has killed him and both attempt to discover the body, since earlier in their conversation, wanderer convey that he could not swim. Thus, forcing Andrzej swim to the bank to pick up on cops. The wanderer who evidently can swim, appears to the yacht, from hiding behind the guidepost of the lake. Seeing Krystyna naked boards, the yacht. Krystyna voice him that he’s as bad as Andrzej and expresses her anger and frustration. The mode goes cosy and voluptuous, to the sensual tract and both have sex off-screen.
Anon, the man jumps off on the other side before Andrzej turn up again. Krystyna tells him that the young man returned, and she was unfaithful. Andrzej remains dumbstruck, descending to the shock, as his car regress at the road intersection.
What mattered is the glorious black and white shots from the cinematographer Jerzy Lipman are significantly charmed and displayed. The rule book techniques was suitably employed from his Lodz Film School learning in Poland where Roman Polanski studied. Each scene can be dissected and sense though its thought live into the gradient weather, and the arrangement of camera on top of the sail shot downward of the aerial montage, accurately seizing the characters with the impressions being on the boat alone. The other brilliant observation of mirror shifts that culminated the moods, distinctive and power of the characters to their natural dispositions.
The sycamores’ day in the lonesome boat, the shattered men, wandering little breeze, the beauty of women which comes down like a dove and emancipated souls fight to be quick and chaste. Shattering all that has sought and swept in to the tune of passionate curls, groan and desperation that was meant to be in the extreme isolation to the touch of jazz from Krzysztof Komeda’s score has been surer than addiction, surer than fiction and surer than Polanski’s waterhole make the “Knife in the Water” so magnificent.