Knife in the Water (1962)

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...

Fmovies: Roman Polanski created a landmark film with Knife in the Water. It perhaps even trumps his most famous film, Chinatown. A man and his wife (or is it his mistress?) pick up a hitchhiker. For reasons that are obscure for most of the film, the man asks the hitchhiker if he would like to come along on their sailing trip. They plan to sail until the next dawn. It feels like it'll be a run-of-the-mill thriller, but it's much smarter than that. Really, it's a tale about male posturing, and it may be the best film on that subject. The three actors are excellent. Polanski's direction is flawless. The jazz score is wonderful, as well. One of the best ever made. 10/10.

Well, this film may not appeal to the legions of folk who consider drivel like The Sixth Sense to be great drama/thriller material, but to those of us who adore movies and respect the great ones, this one is a gem.

This great-granddad to later works like "Dead Calm" or even "The Talented Mr. Ripley" manages to deliver the goods on this wickedly smart little tale about a young middle class couple who pick up a hitchhiker who manages to turn their life around in the course of one day.

What sets this film apart from others is it's place in movie history and it's polished (no pun intended) directorial style.

This early hit by future great director Roman Polanski manages to make you believe in these three people without questioning the typically silly things that people do in thrillers. Of course most of us would not invite a strange hitchhiker onto their private boat for an evening, especially when the hitchhiker carries with them a huge hunting knife and an attitude.

Just throw your disbelief to the wind, and sit back and enjoy this little gem. I loved the juxtaposition of the vast open air and beautiful water vistas with the claustrophobic atmosphere aboard the little "yacht". The terrific moment when the couple dares the young man to hang over the edge of the boat and he begins to "run" on water alongside. Even the inevitable seduction rings true due to the circumstances. I won't reveal anymore scenes.

This film is to be enjoyed by all! The only complaint is while I saw this film at the normally wonderful Film Forum in NYC, the grossly outdated and shabby looking subtitles positively cry out for a restoration!!

Knife in the Water fmovies. When I first saw this film on its release in London (1962) I was only too ready to dismiss it as a pastiche of Ingmar Bergman. I am therefore more than glad to have seen it again on tv a couple of nights ago. How totally mistaken I was! It is an original film through and through, and the young Polanski had already his artistic stamp ready to forge on his first work (Three men and a wardrobe was not directed by him, I don't think). Forty years on, what is so astonishing is that the film and therefore the social, emotional and psychological problems examined in it, has not aged at all. Communist Poland? What does it matter? A young student hiking his way? So what? A young woman "married ???" to an older man? Entirely timeless and placeless. What remains as solid as ever is the primordial conflict between two men, one weaker the other stronger, but you cannot be so sure about that, in the presence of a woman who is both a sex object and a recipient of the seed of one of the two men. Why is the couple without child? How can a woman whose "husband" is dangerously swimming ashore to summon help, can be so relaxed as to have sex with the young man when he is going to vanish from their lives within a few hours?

Louis Malle famously said that he prefers the filmgoers to leave the cinema with lots of questions in their heads, rather than answers to all the questions in the film. Polanski has never stopped doing that.

Knife in the Water (1962), Polanski's feature debut, made when he was twenty-nine, is a tense overnight sailing trip taken by a man with his pretty younger wife and a handsome young drifter they find hitchhiking on their drive to the boat. The action is claustrophobic and fraught with menace – the two men are in conflict from the moment they first meet – and a cool jazz score gives the film an edgy contemporary air. The young man carries a long knife of the switch-blade type. Does the old rule apply, that a weapon, once introduced in a story, has to be used?

Polanski was to do many other things in his career, but his ability to create unease was all there in this first one. And the shooting on the water is as effective as that to be found in another remarkable film of about the same time, Rene Clement's Plein Soleil, with Alain Delon as Tom Ripley.

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 ****