Introduction to
Knife in the Waterby Arden Sherman
Nóż w wodzie, or Knife in the Water, is a film about a couple whose sailing trip takes a suspenseful turn when they invite along a hitchhiker they meet on the way to the marina. Directed by Roman Polański in 1962, Knife in the Water was the first film to come out of Poland whose theme was neither focused on the societal situation in communist Poland, nor did it specifically address the wars.
The film was not well received by Polish audiences, and even less so by Polish officials, because it lacked the requisite propaganda value. (1) In 1961 Polański, who co-wrote the script with Jerzy Skolimowski and Jakub Goldberg, submitted it to the Polish Ministry of Culture and was immediately denied permission to make this film. Nine months later, sensing a change in the political climate, Polański tweaked some of the dialogue to lean more towards Party-centric language and resubmitted the script to the Ministry in 1962—this time, it passed. So the subtle throws you will see angled in favor of the Party may not have originally been there. (2) Polański was even forced to remove the exterior shots of a Mercedes, which were thought to reflect a Western decadence that was inconsistent with official politics. (3)
More than any other factor, the contrast between the enthusiastic reception given to the film internationally and its cold reception by the restrictive Polish film industry is what ultimately pushed Polański’s practice out of Poland. Knife in the Water was nominated for an Academy Award for Best Foreign Film in 1963, the year following its production, and because of its popularity Polański was featured on the cover of Time magazine (The Academy Award went to Fellini’s 8 ½). Knife in the Water was the last film (and only feature-length) that Polański ever made in Polish, and since then, he has only cinematically returned to Poland while filming segments of his 2002 film The Pianist.
The Party’s dismissal of the film may have been because Polański addressed some important thematic ploys. At the surface of Knife in the Water is the political theme of class disparity seen through the demonstration of leisure. The seemingly comfortable couple are going on a weekend outing and on their way, almost run over a young, lonely hitchhiker who’s got all his belongings on his back. They invite the young man to join them on their sailing trip, propositioning a sort of warfare between the ‘haves’ and the ‘have-nots.’ Such blatant class differences—the pro-Party couple who owns a luxury car and sailboat versus the rough and tough, on-the-run student—were not supposed to exist in the Communist society of Poland in 1962. (4) Though they certainly did, and are seen through Polański’s clever jabs. For example, we never actually find out that hitchhiker’s name, because he is a representation of an entire generation unadorned with the complications (or baggage) of the war. Interestingly, in an interview with Polański, the director took great joy in pointing out that one of the officials who had required the elimination of the Mercedes from the film actually drove up to the set one day in that very same make and model of car. (5)
The psychological themes warrant as much consideration as the political ones; the characters are highly developed in their own right. The machismo, the man-vs-man-in-order-to-get-the-girl’s-attention, is at the forefront of this film, in which each of the men takes on the other’s skills hoping to ‘out man’ each other in order to impress Krystyna—who, for her part, remains unaffected, confident, and of course ultra sexy. Polański employs a common cinematic trope of the third wheel in which an outside party enters a two-person scenario, shaking up the comfortable dynamic and ultimately shedding light on some sort of truth or reality of the original relationship. (Polański takes up the triangular relationship again in the 1966 thriller Cul de Sac, when a couple is forced into tight quarters with an unusual outsider.)
The film takes place almost entirely onboard a sailboat. The cast and crew lived for weeks on this tiny, rented vessel throughout the filming, oftentimes having to lean overboard while the camera was rolling to avoid being recorded in shots. (6) Equally fascinating, Polański and his cinematographer Jerzy Lipman were able to capture the sensation of authentic isolation on an endless lake, under such off-screen conditions.
One thing I love about Knife in the Water is the captivating cinematic aesthetic. The black and white shots are dreamy, luscious, and calm. The jazzy, sultry musical score by Krzysztof Komeda enunciates that leisurely activity of a day spent on the water. In fact, Komeda worked with Polański on many of his films and was known for pioneering the movement known as the Polish School of Jazz. (7) You’re probably familiar with another of Komeda’s musical pieces: the creepy, lullaby-ish song from Rosemary’s Baby…
The camera angles in Knife in the Water also continually articulate the triangular relationship. Polański employs lots of close-up shot of nature and figures, where the action of the scene is shown happening in the background almost between or through the foreground figures. Perhaps this cinematic tool was employed because it followed in accordance with the policy of the Łódź film school where Polański had studied. The policy aimed at ensuring that the students would first learn to tell their stories visually. The aerial montage for this film was made by positioning the camera on top of the sail and shooting downward, capturing each character entertaining themselves, as if each were on the boat alone. The weather is almost too appropriate, with its frequent shifts mirroring the changes in mood among the characters. For the duration of the film, we neither see another sailboat on the water, nor is there another person. The lonesome boat on the vast, open water puts pressure on the characters’ relationship. We see similar psychological subjects threaded throughout Polański’s film career, where extreme isolation reaches claustrophobia in his next feature length, Repulsion, from 1965. And in his perhaps best-known film, Rosemary’s Baby, themes of deception among loved ones, isolation, and paranoia are on the surface. Always interested in thrillers and dramas (both on and off screen), Polański remains one of the most important filmmakers of the last century.
NOTES:
1. “No Idea What Became of Him,” Epinions.com review of Knife in the Water by member Metalluk, http://www0.epinions.com/review/mvie_mu-1011693/content_180580880004
2. Roman Polański, “Knife in the Water,” Roman: an autobiography, published by William Morrow and Company, 1984
3. “No Idea What Became Him”
4. Ibid.“No Idea What Became Him"
5. Ibid. “No Idea What Became Him”
6. Peter Cowie, “Knife in the Water,” review for Criterion Collection.com, http://www.criterion.com/current/posts/298-knife-in-the-water
7. Wikipedia.com, Krysztof Komeda, http://en.wikipedia.org/wiki/Krzysztof_Komeda
Upon graduating from Łódź Film School in 1965, Kieślowski focused almost exclusively on documentaries. "The Office" portrays the intense bureaucracy that existed in Polish government services at the time. Pensioners, lined up at a social security office, are one by one turned away for various procedural violations. One request is denied because the applicant has too many identifying documents, and she is told to acquire an official nullification of one of the redundant papers. An elderly man encounters difficulty because a document was stamped with a square seal, rather than a round one.
Frustrated by harsh governmental censorship, Kieślowski abandoned the documentary form in the mid-1970s. Still, he often employed a documentary style and non-actors in his feature films, portraying everyday life under the weight of an oppressive system. Camera Buff tells the story of Filip Mosz (played by Jerzy Stuhr), a humble factory worker whose newfound hobby - amateur film - becomes an obsession that transforms his modest, and formerly happy, life. Exploring the repression of individuality in Communist Poland, the film focuses on the ethical choices faced by a single person. Camera Buff won the grand prize at the Moscow International Film Festival.
"Picturing Labor in the work of Krzysztof Kieślowski" is sponsored by the Consulate General of the Republic of Poland.
Polish Movie Nite is generously hosted by the Polish Club of San Francisco. More information about the Polish Club is available at www.polishclubsf.org.
