Model Key Scene Analysis: The Pianist

Introduction

Wladyslaw Szpilman's survival becomes dependent on luck and the assistance of other people since the devastation began after the bombing of his radio station. Roman Polanski, the maker of The Pianist has ensured vivid description of Wladyslaw's suffering and the numerous times he has escaped the wrath of the Germans. It is clear that he was to die during the bombing of the station considering that he was performing live on air the time it happened. However, he survived and got back to his family in one piece. In another instance, his family was among the people listed to board the train to be transported to their deaths but he was saved by A Jewish working as a German police guard. In years of his run, he survives by the help of other people he has interacted with before the German Army took over Warsaw such as a former friend Jenina and her husband, and former girlfriend Dorota (Plot, n.d). The scenarios have powerful relevance to the theme of this film and have a significant relationship to the key scene. In the later parts of the film, he is hiding in an abandoned building trying not to be captured by the soldiers. As he tries to open a can of pickled cucumbers, a German officer, Wilm Hosenfield, finds him. He, however, does not arrest him but he instead offers to help him with food and a coat (The, 2018). The encounter between these two individuals is the beginning of a new and unexpected relationship that makes the storyline of the final parts of this film.

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Ironically, these persons are from two different opposing sides where one is a Polish pianist while the other is a German soldier. They meet at the time when the war is getting more intense and the police guards are supposed to arrest or kill any Jewish person they come across. In this scene, it is evident that Wladyslaw gets scared the moment he sees Hosenfield since he is aware of what is going to happen to him considering that he has been a fugitive for years (The, 2018). He even hesitates when the officer requests him to come to the other room to play the piano. He feels frightened because he was not expecting to be treated in such a manner by a person working with the army let alone a soldier from the German nationality. The difference between the two people in this scene is a reflection of the entire film. While Wladyslaw is clothed in tatters, Hosenfield wears a well-tailored military uniform of which shows the kind of life each is living. It illustrates how the Jews are living desperately and powerlessly, and to survive a day takes a lot of effort and determination. Hence, it is an irony when the soldier gives his overcoat to the pianist and brings him food occasionally instead of submitting to his superiors' orders considering that they had never met before.

Wladyslaw can be said to be one of the luckiest people. The encounter is no different from the others where he had escaped close calls. However, unlike in other times where he is saved by someone close to him and whom he had past interaction with, in this case, he survives in the hands of a German soldier who he barely knows. The officer enquires about his last name and it sounded as "spielmann" of which in German means a pianist. He then learns he is a pianist and this becomes the lucky charm this time as Hosenfield turns out to be a fan of this art as he asks him to play the piano which is in the ground floor of that apartment. After playing the piano, a relationship develops and not only does Wladyslaw gets saved from being captured, but he is also saved from hunger and cold as he gets food and overcoat from the German Captain. Moreover, the saving is mutual as one can tell from the officer's face that he is feeling certain relief as the pianist plays the equipment. Thus, it is clear there is personal redemption and as much as he saved the Jewish, he was also saved from something he was not willing to share with anyone probably killing and making other innocents souls suffer. He even assures Wladyslaw that he will be free soon when the Russians liberate Warsaw of which indicates that he was not happy with what was happening and wished it to end soon.

Interestingly, the viewer sees Wladyslaw be at the verge of his death while Hosenfield is in control but it would be true if things were considered to be vice versa. From the scared expression displayed by the pianist and the relaxed officer standing by the door talking to him, the latter is apparently controlling things in this scene. However, as soon as he starts playing the piano, he suddenly becomes composed while his audience is lost in his thoughts probably connecting the music to his own deeds that are certainly not recommendable (Stein, 2002). The victim now takes control as it seems he is influencing what the other is thinking and the actions he takes at the final shots of this scene. He is supposed to take him in custody as a Jewish fugitive but instead, he removes his coat and gives it to him. He should not be telling him anything about the expected liberation by the Russians but instead, he goes ahead and does exactly that an indication of how much he is being controlled by the talent of his could-have-been victim. Hence, this is a scene that shows the viewers that everything is not always what it seems in the film.

Conclusion

In conclusion, this is the best scene of The Pianist as it gives it a new beginning to different things from what has been seen in the previous parts. It is with this scene that viewers start seeing the turning point of the events that have been happening such that the oppressed are taking control and they are beginning to have control over their oppressors. The viewers are now aware that Wladyslaw and running aware from the Nazis are about to get the freedom they have been hoping and fighting for from the beginning of the movie since as Hosenfield says, the Russians are about to liberate Warsaw. Hence, this scene focused on these two characters of key significance to the film as it reflects on what has been happening and what is about to happen as it comes to an end. The oppressed are becoming the oppressors and vice versa.

References

Stein, A. (2004). Music and trauma in Polanski's The pianist (2002) 1. The International Journal of Psychoanalysis, 85(3), 755-765.

Plot. (n.d.). Retrieved from https://www.imdb.com/title/tt0253474/plotsummary

'The Pianist' best scene - Szpilman vs Hosenfeld. (2018, October 23). Retrieved from https://vimeo.com/14502680