Roman Polanski's The Pianist has been hailed as the filmmaker's long-awaited return to the glorious 1960s and '70s, when he made such films as Repulsion, Rosemary's Baby and especially Chinatown. This analysis is flawed in two respects. First, though he has been working in Europe for the past 25 years--after jumping bail and fleeing the United States on a morals charge--Polanski has continued to turn out small but quirky films filled with his always-alluring visual style. (I especially liked his bizarre 1991 effort, the shipbound romantic thriller Bitter Moon.)
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