Knife in the Water

Polanski's first feature, on paper, sounds like nothing more than a run-of-the-mill claustrophobic thriller set on a boat - a couple takes a loner on board, you figure out the rest. 'Dead Calm', 'The Deep', etc etc etc.

Instead, 'Knife In The Water' is an agonisingly tense look at male posturing & ego, the husband & hitch-hiker constantly challenging each other in every possible way - sailing prowess, games of fiddlesticks, knife throwing & just generally strutting about. There's almost never a single moment where the two aren't trying to trump each other, & one gets the impression that it's not even to impress the girl, so much as themselves. As the film progresses, the tension mounts & tempers fray.

In a Hollywood film, this would build up to a dramatic climax of violence & catharsis, accompanied with thunder & lightning. Polanski doesn't let us off the hook that easily - things get rough, but the games continue, right until the very end of the film.

Shot in black & white, with a cast of three, & virtually one small location, 'Knife In The Water' puts bigger films to shame. No stars, no pyrotechnics, no special effects, probably very little budget, & it's completely riveting from start to finish.

It was nominated for the Best Foreign Film at the Oscars - the first feature of a young Polish film student - & rightly so.

A brilliant start to a brilliant career.

Devastating and beautiful early film from talented director Roman Polanski...but 'beautiful' in a sad, melancholy sense. Rarely have I seen a picture which so vividly captures the wonder of weather (gray and drizzly skies and choppy sea water, illuminated suddenly by a burst of sun rays). Sure, the film is in black-and-white, however that foreboding sky actually becomes a character in the plot involving a couple out for a boating weekend who pick up a hitchhiker and invite him along on their trip. Not a whole lot of story (in the conventional sense), though both Jerzy Lipman's amazing cinematography and Krzysztof Komeda's jazzy score make the journey a worthy ride which builds in suspense and a creepy, muted kind of ambiance. Polanski's eye is unerring, but don't expect him to give into a big pay-off. The narrative is pretty much based in reality--it's grounded--and is without major outbursts, violence or melodrama. *** from ****

Roman Polanski's first full length feature is a simple, minimalist piece filled with male posturing, dead end situations, claustrophobic environments and eerie calm. This is part of Polanski's art house beginnings, but many of its themes and much of its style would be carried through to his later, more accessible work.

Like many a Polanski picture, Knife in the Water shows us men competing over a woman. Typically however this is to the end of making the men look ridiculous rather than objectifying the woman. Here the competition is the central theme, and the bulk of the film is basically a series of set pieces in which the middle-aged husband and the young hitchhiker attempt to outdo each other or show the other up. This drama is concentrated and focused by having only the three characters, and confining the action almost entirely to one location. This kind of minimalism is a safe, simple way to make a straightforward, uncluttered story – a good strategy for an up and coming director – but it's a lot harder to make a really great picture out of such simple elements, and the young Polanski does fall somewhat short here.

What Polanski does have is his natural talent and feel for cinematic form. His sense of rhythm was evident from his earliest shorts, and by this point he had clearly settled upon a style of slow, even paces, letting scenes take as much time as they needed and never being afraid to hold a shot into so-called "dead time" if he felt it was necessary. Often, the stillness of Polanski's pictures could build up a greater feeling of dread or tension than speed and shocks. Here, the pace is leisurely, in tune with Komeda's breezy jazz score, a sound synonymous with early Polanski. It may be slow but Knife in the Water has great atmosphere.

Another of Polanski's strengths was in his feel for space, particularly confined space. In Knife in the Water we have a kind of contradiction on this level, because a small boat in the middle of a lake is both a very wide open space and a small confined one. You kind of get half the effect of a later Polanski picture such as The Tenant – you do get the sense that the characters and the camera itself are incredibly restricted in their environment, but of course you don't get that feeling of all the walls pressing in on you. Nevertheless, Polanski was a master at creating this sense, and he does tend to surround the camera with bits of boat or actor. There are numerous close-ups – typical of the early Polanski although it's something he would drop later in his career – which give a slightly surreal look to some of the shots. A particularly effective moment is the first shot of the boat drifting out across the lake with trees dotted in the background, which then cuts to a close-up of Krystyna, the wife, lying on her back filling the lower half of the frame, with the exact same background as the previous shot.

Knife in the Water is a fairly good film with some good ideas. It suffers a bit from style over substance but is well acted and well directed and is not long enough to get overly tedious. Better things were to come from Polanski once he moved out of Poland and began his English-language film career.

This film is a masterpiece for a movie fan that understands sharp dialog and is interested in so called "mind" suspense. Characters in the movie are psychologically fully developed and the direction is superb; if you include Komeda's nervous jazz elements, the result is Perfection with big P. Polanski knows exactly what perfectionism is about - the devil is in the details, and the devil has no place in this great little classic. I recommend this movie to everyone that wants to get involved in film industry. Let it be the reminder why movies exist in the first place. It's the story that matters and it's the impact that dialog provides; if scenes or words stay with you long after you've seen the movie, you know that something BIG has hit you. You know that you actually start THINKING about yourself...

WELL,you can defined this great film just by one particular scene: the old man is rich,have good social position and took the boy on board to play the role of his mentor.However the young man was dragging the beautiful knife,which was_as he claimed_ the most important thing in his life.The guy was always playing the knife between his fingers and the old man was jealous about that.So when the boy went inside the yacht leaving the knife,the old man took the knife and tried to do the same.Suddenly the young appear and saw this.The only way for the old man to get away with some honour was to allow the boy do the play:he played the knife between the old man's fingers,looking straight into his eyes.Well the lady at the same time was swimming using a funny rubber cocodrile.So, imagine this beautiful scene with the knife,all the tension and suddenly we hear the woman shouting:'Andrzej, Andrzej,the cocodrile is making the bubbles',huh,when I was in the cinema the whole audience burst laughting after hearing that!. The woman stays in the background, just think why? There's another great funny shot when the woman lays there for a sunbathe with her small bikinis,well, her breast dominates the scene!. is the waving movement of the yacht who creates the sensual scene!.

Of course this scene was part of the longer plot ,the critics described this `knife scene' as the most famous and symbolic scene in all of Polanski films..Zygmunt Malanowicz,the actor who played the part of the young man said that he practice a lotnfor those scenes,polanski was afraid if he was prcticing long enough,finally everything was Ok.As Leon Niemczyc,the actor who played the mature role said" Malanowicz only gave me sligh scars'.The idea of the film was the strange competition between this two men.the jury and the prize was the woman.Polanski said he needed a actress that looked plain and normal in ordinary dress but intriguing in bikini!.

Polanski was not only interested in this kind of personages,he likes the relantionship between' the master and the servant' The domineering and the repressed ,as we can see in his short film' The Fat and the Lean' (1961, B&W, 15mins) or in features like Knife in the Water (1962); Cul-de-sac (1966);Dance of the Vampires(1967) etc.