When discussing Bertolt Brecht with my writer friend Goddard Graves, he brought up the question of how much the real life actions of great artists may affect out appreciation of their work ( people like Richard Wagner come immediately to mind, of course, as well as Sergei Prokofiev in the music field--When you know a lot about them as people, enjoying their work can make you feel a little squeamish.
Wagner is no problem for me any more. I was never a huge fan of his, and I only like some of his music anyway ( which is brilliant).
And what about strange personalities like Mozart, while we are at it ? The Czech director Milos Forman went to to town on that in his movie version of "Amadeus."
Well, as a film student I felt I learned a lot from watching Polanski and seeing how his wife Sharon Tate was born on this day ( and the gruesome way with which she met her end at the hands of the Manson family), so I thought I would post this.
Roman Polanski
From Wikipedia, the free encyclopedia
"Polanski" redirects here. For other people with this name, see Polanski (surname). For other uses, see Polanski (disambiguation).
| Roman Polanski | |
|---|---|
Polanski at the 2013 Cannes Film Festival
|
|
| Born | Rajmund Roman Thierry Polański 18 August 1933 Paris, France |
| Residence | France |
| Citizenship | Polish (by birth) and French (by naturalization) |
| Alma mater | National Film School in Łódź |
| Occupation | Actor, director, producer, screenwriter |
| Years active | 1954–present |
| Notable work(s) | Knife in the Water, Repulsion, Rosemary's Baby, Chinatown, The Pianist |
| Style | Psychological, surrealist, noir, black comedy |
| Spouse(s) |
|
| Children | 2 (daughter and son) |
Born in Paris to Polish parents, he moved with his family back to Poland (Second Polish Republic) in 1937, shortly before the outbreak of World War II.[11] He survived the Holocaust and was educated in Poland (People's Republic of Poland) and became a director of both art house and commercial films.[12] Polanski's first feature-length film, Knife in the Water (1962), made in Poland, was nominated for a United States Academy Award for Best Foreign Language Film but was beaten by Federico Fellini's 8½.[13] He has since received five more Oscar nominations, along with two Baftas, four Césars, a Golden Globe Award and the Palme d'Or of the Cannes Film Festival in France. In the United Kingdom he directed three films, beginning with Repulsion (1965). In 1968 he moved to the United States, and cemented his status by directing the horror film Rosemary's Baby (1968) for which Ruth Gordon won an Academy Award as Best Supporting Actress.
In 1969, Polanski's pregnant wife, Sharon Tate, was murdered by members of the Manson Family while staying at Polanski's Benedict Canyon home above Los Angeles.[14] Following Tate's death, Polanski returned to Europe and spent much of his time in Paris and Gstaad, but did not direct another film until Macbeth (1971) in England. The following year he went to Italy to make What? (1973) and subsequently spent the next five years living near Rome. However, he travelled to Hollywood to direct Chinatown (1974). The film was nominated for eleven Academy Awards, and was a critical and box-office success.[15] Polanski's next film, The Tenant (1976), was shot in France, and completed the "Apartment Trilogy", following Repulsion and Rosemary's Baby.[16]
In 1977, after a photo shoot in Los Angeles, Polanski was arrested for the statutory rape of a 13-year-old girl and pleaded guilty to the charge of unlawful sex with a minor.[17] To avoid sentencing, Polanski fled to his home in London, eventually settling in France. More than 32 years later, in September 2009, he was temporarily arrested by Swiss police at the request of U.S. authorities, who unsuccessfully asked for his extradition.[18][19][20] During an interview for a later film documentary, he offered his apology to the woman,[21] and later said that he had regretted that episode for the last 33 years.[22]
Polanski continued to make films such as The Pianist (2002), a WWII true story drama about Jewish-Polish musician Władysław Szpilman. The film won three Academy Awards including Best Director, along with numerous international awards. He also directed other films, including Oliver Twist (2005), a story which parallels his own life as a "young boy attempting to triumph over adversity".[2] His most recent films are The Ghost Writer (2010), a thriller focusing on a ghostwriter working with a former British Prime Minister, and Carnage (2011), a comedy-drama starring Jodie Foster and Kate Winslet.
Contents
Early life
Polanski was born as Rajmund Roman Thierry Polański in Paris, France on 18 August 1933,[23] the son of Bula (née Katz-Przedborska)[24] and Ryszard Polański,[25] a painter and manufacturer of sculptures, who had changed his family name from Liebling.[26] His mother had a daughter, Annette, by her previous husband. Annette managed to survive Auschwitz, where her mother died, and left Poland forever for France.[27] Polański's Polish-born father was Jewish; Polański's Russian-born mother had been raised Roman Catholic, and was of half Jewish ancestry.[28][29][30][31] Polański's parents were both agnostics.[32] Polański, influenced by his education in the People's Republic of Poland, said "I'm an atheist" in an interview about his film, Rosemary's Baby.[33][34]World War II
The Polański family moved back to the Polish city of Kraków in 1936,[25] and were living there when World War II began with the invasion of Poland. Kraków was soon occupied by the German forces, and Nazi racial purity laws made the Polańskis targets of persecution, forcing them into the Kraków Ghetto, along with thousands of the city's Jews.[35] Around the age of five, he attended primary school for only a few weeks, until "all the Jewish children were abruptly expelled," writes biographer Christopher Sandford. That initiative was soon followed by requiring all Jewish children over the age of twelve to wear white armbands with a blue Star of David imprinted for visual identification. After he was expelled, he would not be allowed to enter another classroom for the next six years.[25]:18Polanski then witnessed both the ghettoization of Kraków's Jews into a compact area of the city, and the subsequent deportation of all the ghetto's Jews to concentration camps, including watching as his father was taken away. He remembers from age six, one of his first experiences of the terrors to follow:
I had just been visiting my grandmother . . . when I received a foretaste of things to come. At first I didn't know what was happening. I simply saw people scattering in all directions. Then I realized why the street had emptied so quickly. Some women were being herded along it by German soldiers. Instead of running away like the rest, I felt compelled to watch.His father was transferred, along with thousands of other Jews, to Mauthausen, a group of 49 German concentration camps in Austria. His mother was taken to Auschwitz and was killed soon after arriving. The forced exodus took place immediately after the German liquidation of the Kraków ghetto, after its failed rebellion, a true-life backdrop to Polanski's film, The Pianist (2002). Polanski, who was then hiding from the Germans, remembered seeing his father being marched off with a long line of people. Polanski tried getting closer to his father to ask him what was happening, and managed to get within a few yards. His father saw him, but afraid his son might be spotted by the German soldiers, whispered (in Polish,) "Get lost!"[25]:24
One older woman at the rear of the column couldn't keep up. A German officer kept prodding her back into line, but she fell down on all fours, . . . Suddenly a pistol appeared in the officer's hand. There was a loud bang, and blood came welling out of her back. I ran straight into the nearest building, squeezed into a smelly recess beneath some wooden stairs, and didn't come out for hours. I developed a strange habit: clenching my fists so hard that my palms became permanently calloused. I also woke up one morning to find that I had wet my bed.[30]
Polański escaped the Kraków Ghetto in 1943 and survived by assuming the name Romek Wilk, with the help of some Polish Roman Catholic families who promised his father they would shelter him if necessary.[25]:21 Initially, that prearranged care-taking of young Polanski lasted only a few days, as the family complained that they "hadn't intended to give refuge to a 'little Jew'." The family evicted him, although they refused to return his suitcase of personal belongings.[25]:21
Again in hiding without his parents, he was sheltered by other Catholic families, where he attended church, learned to recite most Catholic prayers by heart, and behaved outwardly as a Roman Catholic, although he was never baptized. His efforts to assimilate into Catholic households as a member of the family often failed. In one instance, the parish priest visited the family and began to interrogate him, as Polanski recalls:[36]
"Who exactly are you?" he asked. "Where were you baptized?" . . . "What was the name of your parish priest?" . . . He pursued his inquisition to the bitter end. "You're a little liar," he said finally. "You've never been baptized at all." He took me by the ear and led me over to the mirror. "Look at yourself. Look at those eyes, that mouth, those ears. You aren't one of us."[36]Writer Mitchell Glazer describes Polanski's difficult childhood:
Truth and myth about Polanski merge in a grisly, Jerzy Kosinskiesque tale: at six, slipping through the Cracow sewers with gangs of Jewish children to steal food for their families; having his mother hauled away before his eyes to perish in Auschwitz; at seven, being hidden by various non-Jews (for a fee) and finally being sent to a Polish farm to live with a peasant family. The stories become even darker: near fatal beatings (he has a metal plate in his head), starvation, night escapes across the freezing Polish countryside. And all this before he was twelve.[37]As he roamed the countryside trying to survive in a Poland now occupied by German troops, he witnessed many horrors, such as being "forced to take part in a cruel and sadistic game in which German soldiers took shots at him for target practice."[2] Author Ian Freer concludes that his constant childhood fears and dread of violence have contributed to the "tangible atmospheres he conjures up on film."[2]
By the time the war ended in 1945, a fifth of the Polish population had been killed,[38] with the vast majority of the victims being civilians. Of those deaths, 3 million were of Polish Jews, 90% of the country's Jewish population.[39] According to Sandford, Polanski would use the memory of his mother, her dress and makeup style, as a physical model for Faye Dunaway's character in his film Chinatown (1974).[25]:13
After the war
After the war he was reunited with his father, and moved back to Kraków. His father remarried 21 December 1946 to Wanda Zajączkowska (a woman Polanski had never liked) and died of cancer in 1984. Time repaired the family contacts; Polanski visited them in Kraków, and relatives visited him in Hollywood and Paris. Polanski recalls the villages and families he lived with as relatively primitive by European standards:They were really simple Catholic peasants. This Polish village was like the English village in Tess. Very primitive. No electricity. The kids with whom I lived didn't know about electricity . . . they wouldn't believe me when I told them it was enough to turn on a switch![37]He stated that "you must live in a Communist country to really understand how bad it can be. Then you will appreciate capitalism."[37] He also remembered events at the war's end and his reintroduction to mainstream society when he was 12, forming friendships with other children, such as Roma Ligocka, Ryszard Horowitz and his family:
Richard was one of the very few children to have survived deportation from the Kraków ghetto and the only one to have survived the transit camp that followed. His father had hidden him in a latrine cesspool, neck-deep, while the other children were being rounded up for liquidation . . . Regina Horowitz was a typical Jewish mother, warm, resilient, and vital—a tower of strength. She always lit candles on Friday nights, and for the first time in my life I found myself in a household where Jewish rites were observed.[40]
Introduction to movies
Polanski's fascination with cinema began very early, when he was around age four or five. He recalls this period in an interview:Even as a child, I always loved cinema and was thrilled when my parents would take me before the war. Then we were put into the ghetto in Krakòw and there was no cinema, but the Germans often showed newsreels to the people outside the ghetto, on a screen in the market place. And there was one particular corner where you could see the screen through the barbed wire. I remember watching with fascination, although all they were showing was the German army and German tanks, with occasional anti-Jewish slogans inserted on cards.[41]After the war, he watched films, either at school or at a local cinema, using whatever pocket money he had. Polanski writes, "Most of this went on the movies, but movie seats were dirt cheap, so a little went a long way. I lapped up every kind of film."[42] As time went on, movies became more than an escape into entertainment, as he explains:
Movies were becoming an absolute obsession with me. I was enthralled by everything connected with the cinema — not just the movies themselves but the aura that surrounded them. I loved the luminous rectangle of the screen, the sight of the beam slicing through the darkness from the projection booth, the miraculous synchronization of sound and vision, even the dusty smell of the tip-up seats. More than anything else, though I was fascinated by the actual mechanics of the process.[43]
Early career in Poland
Film director
1960s
- Knife in the Water (1962)
Polanski left then-communist Poland and moved to France, where he had already made two notable short films in 1961: The Fat and the Lean and Mammals. While in France, Polanski contributed one segment ("La rivière de diamants") to the French-produced omnibus film, Les plus belles escroqueries du monde (English title: The Beautiful Swindlers) in 1964. However, Polanski found that in the early 1960s the French film industry was xenophobic and generally unwilling to support a rising filmmaker who was of foreign origin.[48]
- Repulsion (1965)
- Cul-de-sac (1966)
- The Fearless Vampire Killers/Dance of the Vampires (1967)
Polanski met Sharon Tate while the film was being made, where she played the role of the local innkeeper's daughter. They were married in London on 20 January 1968.[49]
- Rosemary's Baby (1968)
On 9 August 1969, while Polanski was working in London, his wife, Sharon Tate, and four other people were murdered at the Polanskis' residence in Los Angeles.[54]
1970s
- Macbeth (1971)
- What? (1973)
- Chinatown (1974)
- The Tenant (1976)
In 1978, Polanski became a fugitive from American justice and could no longer work in countries where he might face arrest or extradition.
- Tess (1979)
Tess was shot in the north of France instead of Hardy's England and became the most expensive film made in France up to that time. Ultimately, it proved a financial success and was well received by both critics and the public. Polanski won France's César Awards for Best Picture and Best Director and received his fourth Academy Award nomination (and his second nomination for Best Director). The film received three Oscars: best cinematography, best art direction, best costume design, and was nominated for best picture.
1980s
In 1981, Polanski directed and co-starred (as Mozart) in a stage production of Peter Shaffer's play Amadeus, first in Warsaw, then in Paris.[62][63] The play was again directed by Polanski, in Milan, in 1999.[64]- Pirates (1986)
- Frantic (1988)
1990s
- The Ninth Gate (1999)
In 1997, Polanski directed a stage version of his 1967 film The Fearless Vampire Killers, which debuted in Vienna[70] followed by successful runs in Stuttgart, Hamburg, Berlin, and Budapest. On 11 March 1998, Polanski was elected a member of the Académie des Beaux-Arts.[71]
2000s
- The Pianist (2002)
When Warsaw, Poland was chosen for the 2002 premiere of The Pianist, "the country exploded with pride." According to reports, numerous former communists came to the screening and "agreed that it was a fantastic film."[72]
- Oliver Twist (2005)
2010s
- The Ghost Writer (2010)
The film is based on a novel by British writer Robert Harris. Harris and Polanski had previously worked for many months on a film of Harris's earlier novel Pompeii. They had completed a script and were nearing production when the film was cancelled due to a looming actors' strike in 2007. After that film fell apart, they moved on to Harris's novel, The Ghost, and adapted it for the screen together.
The cast includes Ewan McGregor as the writer and Pierce Brosnan as former British Prime Minister Adam Lang. The film was shot on locations in Germany.[79]
In the US, film critic Roger Ebert included it in his top 10 pick for 2010, and states that "this movie is the work of a man who knows how to direct a thriller. Smooth, calm, confident, it builds suspense instead of depending on shock and action. "[80] Co-star Ewan McGregor agrees, saying about Polanski that "he's a legend. . . I've never examined a director and the way that they work, so much before. He's brilliant, just brilliant, and absolutely warrants his reputation as a great director."[81]
- Carnage (2011)
Co-stars Jodie Foster and Kate Winslet commented about Polanski's directing style. According to Foster, "He has a very, very definitive style about how he likes it done. He decides everything. He decided every lens. Every prop. Everything. It's all him."[83] Winslet adds that "Roman is one of the most extraordinary men I've ever met. The guy is 77 years old. He has an effervescent quality to him. He's very joyful about his work, which is infectious. He likes to have a small crew, to the point that, when I walked on the set, my thought was, 'My God, this is it?'”[84] Also noting that style of directing, New York Film Festival director Richard Pena, during the American premier of the film, called Polanski "a poet of small spaces . . . in just a couple of rooms he can conjure up an entire world, an entire society."[85]
- Venus in Fur (2013)
- D (2013)
Marriages and relationships
Barbara Lass
Polanski's first wife, Barbara Lass (née Kwiatkowska),[25] was a Polish actress who also starred in Polanski's 1959 When Angels Fall.[91] The couple were married in 1959 and divorced in 1961.[25]Sharon Tate
In August 1969, while Polanski was in Europe working on a film, Tate was murdered along with four of their friends at their home in Los Angeles by members of Charles Manson's "family," a group of young, gullible, and mostly female followers. Tate was pregnant at the time of her murder.
Manson, along with members of his "family" were arrested in late 1969, and eventually tried and found guilty in 1971 of 27 counts, including first-degree murder, an event now called the Manson murders. Because at the time it was one of the most "horrific crimes in modern history," the crime and trial of Manson and his followers became a media sensation, leading to movies, documentaries and bestselling books.[94]
Polanski has said that his absence on the night of the murders is the greatest regret of his life.[95] In his autobiography, he wrote, "Sharon's death is the only watershed in my life that really matters", and commented that her murder changed his personality from a "boundless, untroubled sea of expectations and optimism" to one of "ingrained pessimism ... eternal dissatisfaction with life".[96] In his autobiography, Polanski described his brief time with Tate as the best years of his life.
Polanski was also left with a very negative impression of the press, which he felt was interested in sensationalizing the lives of the victims, and indirectly himself, to attract readers. He was shocked by the lack of sympathy expressed in various news stories:
I had long known that it was impossible for a journalist to convey 100 percent of the truth, but I didn't realize to what extent the truth is distorted, both by the intentions of the journalist and by neglect. I don't mean just the interpretations of what happened; I also mean the facts. The reporting about Sharon and the murders was virtually criminal. Reading the papers, I could not believe my eyes. I could not believe my eyes! They blamed the victims for their own murders. I really despise the press. I didn't always. The press made me despise it.[41]Among the media-generated sensationalism were rumors that claimed Tate and her visitors were taking drugs, despite the coroner announcing that no traces of drugs or nicotine were found after Tate's autopsy.[97] For years afterward, notes Sandford, "reporters openly speculated about the Polanskis' home life" and their personalities in order to create more media gossip about the private lives of Hollywood celebrities.[25]:2
Nastassja Kinski
Emmanuelle Seigner
In 1989, Polanski married French actress Emmanuelle Seigner, 33 years his junior. They have two children, daughter Morgane and son Elvis.[101] Polanski and his children speak Polish at home.[102]Legal history
Sexual abuse case
Main article: Roman Polanski sexual abuse case
On 11 March 1977, Polanski, then 43 years old, was arrested in Los Angeles for the sexual assault of 13-year-old Samantha Geimer during a photo shoot for French Vogue magazine. Polanski was indicted on six counts of criminal behavior, including rape.[101][103] At his arraignment he pled not guilty to all charges. Many executives in Hollywood came to his defense.[104]Geimer's attorney next arranged a plea bargain in which five of the six charges would be dismissed and Polanski accepted.[105] Because Polanski fled the country before final sentencing, the charges were not dismissed and still remain pending.
Upon learning of the judge's plans, Polanski fled to France on 1 February 1978, just hours before sentencing.[112] As a French citizen, he has been protected from extradition and has lived mostly in France since then.[113]
In an interview with Larry King, Geimer said that the police and media had been slow at the time of the assault to believe her account, which she attributed to the climate of the era.[114] In 1988 she sued Polanski. Among other things, the suit alleged sexual assault, false imprisonment, seduction of a minor, and intentional infliction of emotional distress. In 1993 Polanski agreed to settle with Geimer. In August 1996 Polanski still owed her $604,416; Geimer and her lawyers later confirmed that the settlement was completed.[114][115]
On 26 September 2009, Polanski was arrested while in Switzerland at the request of US authorities.[116] The arrest brought renewed attention to the case and stirred controversy, particularly in the US and Europe.[109] Polanski was defended by many prominent individuals, including Hollywood celebrities and European artists and politicians, who called for his release.[117] American public opinion was reported to run against him, however,[118][119] and polls in France and Poland showed strong majorities favored his extradition to the US.[120][121]
Polanski was jailed near Zürich for two months, then put under house arrest at his home in Gstaad while awaiting decision of appeals fighting extradition.[122] On 12 July 2010 the Swiss rejected the US request, declared him a "free man" and released him from custody.[123] Polanski remains the subject of an Interpol red notice issued in 2005 at the request of the United States.[124]
During a television interview on 10 March 2011, Geimer blamed the media, reporters, the court, and the judge for causing "way more damage to [her] and her family than anything Roman Polanski has ever done," and stated that the judge was using her and a noted celebrity for his own personal gain from the media exposure.[114][125]
Documentary films
In 2008 the documentary film, Roman Polanski: Wanted and Desired, was released in Europe and the US where it won numerous awards.[126] The film focuses on the judge in the case and the possible reasons why he changed his mind. It includes interviews with people involved in the case, including the victim, Geimer, and the prosecutor, Roger Gunson. Geimer said that the judge "didn't care what happened" to her or Polanski, but "was orchestrating some little show,"[111] while Gunson added, "I'm not surprised that Polanski left under those circumstances, . . . it was going to be a real circus."[111][127]Former DA David Wells, whose statements were the most damning against Polanski, and who said he advised the judge to imprison Polanski, admitted that he lied about those statements, and said that to the press to "play up" his own role.[128][129]
In December 2009, a California appellate court discussed the film's allegations as it denied Polanski's request to have the case dismissed. While saying they "deeply concerned" the court, and were "in many cases supported by considerable evidence," it also found that “(e)ven in light of our fundamental concern about the misconduct. . . flight was not Polanski’s only option. It was not even his best option." It said dismissal of the case, which would erase Polanski's guilty plea, wouldn't be an "appropriate result," and that he still had other legal options.[109][130]
In September 2011, the documentary film Roman Polanski: A Film Memoir, had its world premiere in Zürich, Switzerland. During an interview in the film, he offers his apology to Geimer: "She is a double victim: My victim, and a victim of the press."[21] On this occasion, he collected the lifetime achievement award he was to receive at the time of his arrest two years earlier.[131]
Vanity Fair libel case
In 2004, Polanski sued Vanity Fair magazine in London for libel. A 2002 article in the magazine claimed that Polanski promised he would "make another Sharon Tate out of you" in an attempt to seduce a Scandinavian model while he was travelling to Tate's funeral. He received supporting testimony from Mia Farrow, and Vanity Fair "was unable to prove that the incident occurred." Polanski was awarded £50,000 in damages plus some of his legal costs.[132]Filmography
Director
| Year | Film | Oscar nominations |
Oscar wins |
|---|---|---|---|
| 1955 | Zaczarowany rower (also as Bicycle) | ||
| 1957 | Morderstwo (also as A Murderer) | ||
| Uśmiech zębiczny (also as A Toothful Smile) | |||
| Rozbijemy zabawę (also as Break Up the Dance) | |||
| 1958 | Dwaj ludzie z szafą (also as Two Men and a Wardrobe) | ||
| 1959 | Lampa (also as The Lamp) | ||
| Gdy spadają anioły (also as When Angels Fall) | |||
| 1961 | Le Gros et le maigre (also as The Fat and the Lean) | ||
| Ssaki (also as Mammals) | |||
| 1962 | Nóż w wodzie (also as Knife in the Water) | 1 | |
| 1964 | Les plus belles escroqueries du monde (also as The Beautiful Swindlers)—segment: "La rivière de diamants" | ||
| 1965 | Repulsion* | ||
| 1966 | Cul-de-sac | ||
| 1967 | The Fearless Vampire Killers or: Pardon Me, Madam, but Your Teeth Are in My Neck (also as Dance of the Vampires) | ||
| 1968 | Rosemary's Baby* | 2 | 1 |
| 1971 | Macbeth | ||
| 1972 | Week-end of a champion (fr) | ||
| 1972 | What? (also as Diary of Forbidden Dreams) | ||
| 1974 | Chinatown | 11 | 1 |
| 1976 | Le Locataire (also as The Tenant)* | ||
| 1979 | Tess | 6 | 3 |
| 1986 | Pirates | 1 | |
| 1988 | Frantic | ||
| 1992 | Bitter Moon | ||
| 1994 | Death and the Maiden | ||
| 1999 | The Ninth Gate | ||
| 2002 | The Pianist | 7 | 3 |
| 2005 | Oliver Twist | ||
| 2007 | To Each His Own Cinema (segment Cinéma erotique) | ||
| 2010 | The Ghost Writer | ||
| 2011 | Carnage | ||
| 2012 | A Therapy (short film for Prada) | ||
| 2013 | Venus in Fur |
Actor
- Trzy opowieści (aka Three Stories) as Genek 'The Little' (segment "Jacek", 1953)
- Zaczarowany rower (aka Magical Bicycle) as Adas (1955)
- Rower (aka Bicycle) as the Boy who wants to buy a bicycle (1955)
- Pokolenie (aka A Generation) as Mundek (1955)
- Nikodem Dyzma as the Boy at Hotel (1956)
- Wraki (aka The Wrecks, 1957)
- Koniec nocy (aka End of the Night) as the Little One (1957)
- Dwaj ludzie z szafą (aka Two Men and a Wardrobe) as the Bad boy (1958)
- Zadzwońcie do mojej żony? (aka Call My Wife) as a Dancer (1958)
- Gdy spadają anioły (aka When Angels Fall Down) as an Old woman (1959)
- Lotna as a Musician (1959)
- Zezowate szczęście (aka Bad Luck) as Jola's Tutor (1960)
- Do widzenia, do jutra (aka Good Bye, Till Tomorrow) as Romek (1960)
- Niewinni czarodzieje (aka Innocent Sorcerers) as Dudzio (1960)
- Ostrożnie, Yeti! (aka Beware of Yeti!, 1961)
- Gros et le maigre, Le (aka The Fat and the Lean) as The Lean (1961)
- Samson (1961)
- Nóż w wodzie (aka Knife in the Water) voice of Young Boy (1962)
- Repulsion as Spoon Player (1965)
- The Fearless Vampire Killers as Alfred, Abronsius' Assistant (1967)
- The Magic Christian as Solitary drinker (1969)
- What? as Mosquito (1972)
- Chinatown as Man with Knife (1974)
- Blood for Dracula (Andy Warhol) as Man in Tavern (1976)
- Locataire, Le (aka The Tenant) as Trelkovsky (1976)
- Chassé-croisé (1982)
- En attendant Godot (TV) as Lucky (1989)
- Back in the USSR as Kurilov (1992)
- Una pura formalità (aka A Pure Formality) as Inspector (1994)
- Grosse fatigue (aka Dead Tired) as Roman Polanski (1994)
- Hommage à Alfred (aka Tribute to Alfred Lepetit, 2000)
- Zemsta (aka The Revenge) as Papkin (2002)
- Rush Hour 3 as Detective Revi (2007)
- Caos calmo (aka Quiet Chaos (film)) as Steiner (2007)
Writer
- Script for A Taste for Women,[1] [Scénario :«Aimez-vous les femmes?»] (1964)
- Script for A Day at the Beach (1970) based on the 1962 novel of the same name by Simon Heere Heeresma.[133]
- Polanski's autobiography, Roman by Polanski (1985), sometimes known as Roman.
Awards and nominations
| Year | Award | Category | Result |
|---|---|---|---|
| 1963 | Academy of Motion Picture Arts and Sciences | Best Foreign Language Film (Knife in the Water) | Nominated[134] |
| 1965 | Berlin Film Festival | Silver Berlin Bear-Extraordinary Jury Prize (Repulsion) | Won[135] |
| 1966 | Berlin Film Festival | Golden Bear (Cul-de-sac) | Won[136] |
| 1968 | Academy of Motion Picture Arts and Sciences | Best screenplay adaptation (Rosemary's Baby) | Nominated |
| 1974 | Academy of Motion Picture Arts and Sciences | Academy Award for Best Director (Chinatown) | Nominated[137] |
| 1974 | Golden Globe Awards | Golden Globe Award for Best Director (Chinatown) | Won |
| 1974 | British Academy of Film and Television Arts (BAFTA) | Best Direction (Chinatown) | Won |
| 1979 | Académie des Arts et Techniques du Cinéma (César) | César Award for Best Picture (Tess) | Won |
| 1979 | Académie des Arts et Techniques du Cinéma (César) | César Award for Best Director (Tess) | Won |
| 1979 | Academy of Motion Picture Arts and Sciences | Academy Award for Directing (Tess) | Nominated[138] |
| 1979 | Golden Globe Awards | Golden Globe Award for Best Foreign Film (Tess) | Won |
| 1979 | Golden Globe Awards | Golden Globe Award for Best Director—Motion Picture (Tess) | Nominated |
| 2002 | British Academy of Film and Television Arts (BAFTA) | Best Film; Best Director (The Pianist) | Won[139] |
| 2002 | Academy of Motion Picture Arts and Sciences | Academy Award for Best Director (The Pianist) | Won |
| 2002 | Académie des Arts et Techniques du Cinéma (César) | César Award for Best Director (The Pianist) | Won |
| 2002 | Académie des Arts et Techniques du Cinéma (César) | César Award for Best Film (The Pianist) | Won |
| 2002 | Académie des Arts et Techniques du Cinéma (César) | César Award for Best Director (The Pianist) | Won |
| 2004 | Karlovy Vary International Film Festival | Crystal Globe for outstanding artistic contribution to world cinema | Won |
| 2009 | Zürich Film Festival Golden Icon Award | Lifetime achievement | Won[18][19][20] |
| 2010 | Berlin Film Festival | Silver Bear for Best Director (The Ghost Writer) | Won[140] |
| 2010 | European Film Awards | Best Film; Best Director; Best Screenwriter (The Ghost Writer) | Won[76] |
| 2010 | Lumiere Awards (France's Golden Globes) | Best Director; Best Screenwriter (The Ghost Writer) | Won[141] |
| 2011 | Académie des Arts et Techniques du Cinéma (César) | César Award for Best Director (The Ghost Writer) | Won |
| 2011 | Académie des Arts et Techniques du Cinéma (César) | César Award for Best Screenwriter (The Ghost Writer) | Won |
Other awards
New York Film Critics Circle Awards- 1980: Tess nominated for Best Direction
- 1980: Tess nominated for Best Foreign Film
- 1974: Chinatown nominated for Best Film
- 1971: Macbeth nominated for Best Direction
- 1971: Macbeth nominated for Best Film
- 1965: Repulsion nominated for Best Direction
- 1965: Repulsion nominated for Best Screenwriting
- 1966: Cul De Sac nominated for National Syndication of Italian Film Journalists
- 1962: Knife in the Water won for Fipresci Prize
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