Fifteen years ago this month, the Best Picture race at the Oscars pitted Rob Marshall’s razzle-dazzle musical “Chicago” against Roman Polanski’s wrenching Holocaust drama “The Pianist”: a bipolar set of Academy Awards contenders that caused many critics and filmmakers to get both their knickers and their boxers in a twist.
Yes, “The Pianist” may have been the more important work, but was it so important that movie folks could forgive Polanski for the 1977 rape of a 13-year-old child that caused him to become a permanent fugitive from American justice?
Sympathetic Patrick Goldstein, writing in the influential Los Angeles Times, compared Polanski’s case to that of “Les Miserable’s” Jean Valjean, “an ex-con trying to turn his life around who is being obsessively tracked and hunted down by the Parisian police inspector Javert.” Well, of course, drugging and raping a pubescent girl for your perverse pleasure is...
Yes, “The Pianist” may have been the more important work, but was it so important that movie folks could forgive Polanski for the 1977 rape of a 13-year-old child that caused him to become a permanent fugitive from American justice?
Sympathetic Patrick Goldstein, writing in the influential Los Angeles Times, compared Polanski’s case to that of “Les Miserable’s” Jean Valjean, “an ex-con trying to turn his life around who is being obsessively tracked and hunted down by the Parisian police inspector Javert.” Well, of course, drugging and raping a pubescent girl for your perverse pleasure is...
- 2/12/2018
- by Jack Mathews
- Gold Derby
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