Polanski. I’m higher than some on Polanski because of my esteem for both of his occult films: Rosemary’s Baby and Repulsion. I think both are masterpieces, which, when paired with Chinatown, made Polanski one of the world’s best filmmakers at only age 41. However, he has not really capitalized on that amazing start to his career (4 of his best 5 films are before 1975). I read somewhere (forget now) that people had thought he would be David Cronenberg from 1977-onward and I can totally see that; making eerie, masterful films. If you combine his early work with Cronenberg’s career you have a legit rival for Scorsese as best living filmmaker.
Best film: Chinatown Chinatown. I’m tempted to say Rosemary’s Baby because I think that might be polanski’s greatest achievement as a director. Chinatown is one of the best 5 screenplays of all-time and it IS superbly directed by Polanski so I’ll keep it here. One of the greatest pure narrative films in the art-form’s history. A meditation on power, corruption—an intelligent labyrinth that updates (and improves upon) the best detective films of the studio system Hollywood era (superior to the detective films– Maltese Falcon)- it subverts and examines and redefines the genre though not on the level of Altman’s Long Goodbye from the previous year. The opening titles are gorgeous but feel a bit pastiche—but then you go right into the semi-graphic (clearly not 1930’s/40’s) still frame photos of the cheating wife with Burt Young. John Huston is not only perfect as Noah Cross- but a clear nod to Chandler, Hammett– as he’s the director of the Maltese Falcon of course. Strong retro-luminous Jerry Goldsmith score. The smirk from Jack is so good- overall he underplays the role- mostly, like F. Scott Fitzgerald says he’s a man defined by his actions, but there are moments for Jack that are undeniably Jack—we have him calling the hall of records kid a “weasel” under his breathe. Polanski and Towne (screenplay) so are patient—when looking through a desk Jack checks (and they shot) every drawer and what’s inside. It leads to nothing. Towne and Polanski are building a house here. The water- brilliant- so important for LA- mythic—a great “LA is a small town” line—perfect as maybe no actor more associated with LA either at this point than Jack- Mr. Laker court-side. The character is impeccably built from a formal standpoint—he never listens—someone tells him to wait and he goes ahead- again and again—. “Chinatown” is not only the perfect title- but a key character in the film- a largely unspoken fabled past, theme and undercurrent. The period detail and craft involved- such a high level- it’s all Polanski—he largely defers his stamp here to the screenplay and Jack and what they’re doing with the genre- but the paranoid is all him. There’s an unnatural panic and anxiety in the air that’s in Rosemary’s Baby, The Ghost Writer and all his best work—it’s a rigged game. The nose- it not only creates a memorable hallmark— but it works for the narrative- a reminder of the seriousness as we’re chasing abstracts. The scene where Nicholson and Dunaway make love is superb—we have the Goldsmith horns form the score and then, another throwback, they cut to his cigarette after—then the overhead shot of them in bed together is spectacular. Freud and narrative strength here- Dunaway is naked and then when Jack mentions he met her father she immediately covers up. The narrative- which is perfect- comes back to Burt Young at the end with bookends—similar to the funeral owner in The Godfather– favor is returned. Jack’s “your wife crossed her legs a little too quick” line. Narrative economy- the butler “bad for glass”- line would come back as well with the tide-pool. The daughter/sister scene with Dunaway is absolutely awe-inspiring. Polanski is clearly in love with the period and architecture- it shows. Love Noah Cross’ (Huston)’s line about how he wants to own the future. The epic finale is justifiably iconic as well… it’s not only the “forget it, Jake. It’s Chinatown” line but the JFK-like head-wound in Dunaway with the haunting horn from the score and then we drift into the sky above Chinatown almost like we’re Dunaway watching. A masterpiece.
total archiveable films: 12
top 100 films: 1
top 500 films: 3 (Chinatown, Rosemary’s Baby, Repulsion)
top 100 films of the decade: 4 (Chinatown, Rosemary’s Baby, Repulsion, The Ghost Writer)
most overrated: Cul-de-Sac. TSPDT has it all-time and as Polanski’s 6th. I have it as his 9th.
most underrated: Repulsion at #455 all-time on TSPDT is just flat wrong. This film is a masterpiece of horror/thriller. It’s Freudian and filled with paranoia and a wonderful performance by Deneuve. A fantastic #3 film that sets him apart from a few others on this list. I have the film at the #169 of all-time. If you need another that’s underrated it’s The Ghost Writer. The film is so much better, and closer to Chinatown than critics gave it credit for in 2010. Including the Chinatown comparisons are little things like the hired help at the house on the ocean sweeping the never-ending grass off the deck (being blown on by wind) just like the saltwater pool in the backyard of Dunaway’s house in Chinatown. There are also comparisons to both Chinatown and Rosemary’s Baby (and other Polanski’s films but those two are the pillars) with the sheer paranoia and anxiety he’s able to create. Powerful stuff. McGregor googling CIA contacts scene reminds me of Mia Farrow reading the book on witchcraft. I’ve seen the film 3 times and every time I feel like it’s a HR- Highly Recommend or essentially a top 10 film of 2010, and then they film ends with two of the better scenes in the last decade including the shot of the note being handed from McGregor to Olivia Williams. The second shot is of course that final shot- the equivalent of the “forget it, Jake, It’s Chinatown” shot of the hit and run and pages of the unpublished book sweeping away. Fantastic finish.
gem I want to spotlight: Knife in the Water. He’s done a number of films that feel small and stagy with a background in theatre (enclosed/limited sets, small ensemble). Cul-de-sac is like this– as is Death and the Maiden, Repulsion, Carnage and others. Knife in the Water is along these lines but manages to separate itself with some of the framing and uncanny sense of paranoia Polanski is able to achieve. It’s a brilliant debut, and necessary starting point for a Polanski study.
stylistic innovations/traits: Unnerving cinema. Polanski’s films have a feeling of claustrophobia, paranoia and psychology that makes him a welcomed predecessor of Hitchcock and precursor to Cronenberg in many ways. His shot choices dictate this- the angles used in the phone booth in Rosemary’s Baby- I mean this is just a woman in a phone booth and Polanski makes it art. The angles in Repulsion (again a pretty girl in a room for 90 minutes). The choices to elevate the camera at the ends of Chinatown and The Ghost Writer—dread—systematic horror.
top 10
- Chinatown
- Rosemary’s Baby
- Repulsion
- The Ghost Writer
- Knife in the Water
- The Tenant
- The Pianist
- Macbeth
- Cul-de-Sac
- Tess
By year and grades
| 1962- Knife in the Water | HR/MS |
| 1965- Repulsion | MP |
| 1966- Cul-de-Sac | R |
| 1968-Rosemary’s Baby | MP |
| 1971- Macbeth | |
| 1974- Chinatown | MP |
| 1976- The Tenant | |
| 1979- Tess | R |
| 1988- Frantic | |
| 1994- Death and the Maiden | R |
| 2002- The Pianist | R |
| 2010- The Ghost Writer | MS |
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-see- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives
It’s incredible that the 2010’s was the most prolific and easily his best decade since the 1970’s. He was in his late 70’s, and 80’s during this period. The five films he released during the 2010’s (The Ghost Writer, Carnage, Venus in Fur, Based on a True Story, and An Officer and a Spy) matched the amount he released in the 1960’s and 1970’s. It was only two in the 1980’s, three in the 1990’s, and only two again in the 2000’s.
Perhaps one of the things that should be mentioned in the stylistic innovations section for Polanski is his introduction of the Louma camera crane for The Tenant. The world’s first remote controlled crane which allowed for seamless movements in and around exteriors and interiors. With the camera mounted on it. Polanski talks extensively about the making of The Tenant and the poor reception it got upon release in this interview from late 2019 just after the Venice Film Festival. It’s a great interview.
https://m.youtube.com/watch?v=de2fO17nIk4
Favourite scene from every Roman Polanski:
* Knife in the Water (1962) – The knife fight
* Repulsion (1965) – The scene with the hands
* Cul-De-Sac (1966) – Opening 15 minutes with the car getting drowned
* The Fearless Vampire Killers (1967) – Sharon Tate’s character getting hijacked
* Rosemary’s Baby (1968) – The Satanic ritual
* Macbeth (1971) – The scene inside the witch coven
* What? (1972) – The climax
* Chinatown (1974) – The climax
* The Tenant (1976) – Floating tracking shot outside the apartment showing the neighbours
* Tess (1979) – The mark on the ceiling
* Pirates (1986) – The rat scene
* Frantic (1988) – The dance at the nightclub
* Bitter Moon (1992) – The dance between the two leading ladies
* Death and the Maiden (1994) – The Ben Kingsley monologue
* The Ninth Gate (1999) – The gathering of the witch coven
* The Pianist (2002) – The apartment getting bombed and subsequent fallout
* Oliver Twist (2005) – The scene with the moon and the rope
* The Ghost Writer (2010) – The book inauguration climax
* Carnage (2011) – Not sure
* Venus in Fur (2013) – The climax
* Based on a True Story (2017) – The book inauguration climax
* An Officer and a Spy (2019) – The crowd gathering and military degradation
* The Palace (2023) – Masucci’s character addressing the hotel staff
Roman Polanski filmography ranked-:
1. Chinatown (1974) – MP
2. Rosemary’s Baby (1968) – MP
3. The Tenant (1976) – MP
4. Repulsion (1965) – MP
5. An Officer and a Spy (2019) – MP
6. Tess (1979) – MP
7. Knife in the Water (1962) – MS/MP
8. The Ghost Writer (2010) – MS
9. Macbeth (1971) – MS
10. Cul-De-Sac (1966) – HR/MS
11. The Pianist (2002) – HR/MS
12. Oliver Twist (2005)
13. Pirates (1986)
14. Based on a True Story (2017)
15. Frantic (1988)
16. Bitter Moon (1992)
17. Death and the Maiden (1994)
18. Venus in Fur (2013)
19. The Fearless Vampire Killers (1967)
20. What? (1972)
21. The Ninth Gate (1999)
22. The Palace (2023)
23. Carnage (2011) – R
@Drake- Did you see The Palace (2023)? Quite a few similarities with one of his previous movies, What?/Diary of Forbidden Dreams in 1972 with Sydne Rome and Marcello Mastroianni. Weirdly enough Sydne Rome is in both movies.
@Malith – I have not caught this one yet
Three of his movies (Bitter Moon, The Ghost Writer, Based on a True Story) show its protagonist (a writer) suffering writer’s block in the creative process. This is not particularly important in Bitter Moon but very important for both The Ghost Writer and Based on a True Story. Both film’s ending is set at a book launch event.
I love the dance sequences in Frantic and Bitter Moon. And of course the disappearing scene in Frantic is so well done.
Pirates (1986) is one of his best looking movies. Epic widescreen photography.
A great bunch of characters (Walter Matthau, Damien Thomas, Roy Kinnear, Ferdy Mayne, Bill Fraser). I also love the way the iris is set up to be used at the end.
Why is it #21 then?
@Harry- This ranking was before my 2nd viewing of the film recently. I struggled with the tone of the film the first time. I love how disgusting and pathetic the pirates are in this film. Apart from the things mentioned above some scenes are technically superb as well. The rat eating scene, the Ferdy Mayne confession scene, the introduction scene with Roy Kinnear etc. The costumes here are extensively researched and period accurate. The standouts are the peacock costumes on the Spanish soldiers led by Damien Thomas. And the working pirate ship built for this film is the best film prop ever.
The tracking in/out of the island via establishing shots was also used in An Officer and a Spy.
Roman Polanski filmography ranked:
1. Chinatown (1974) – MP
2. Rosemary’s Baby (1968) – MP
3. The Tenant (1976) – MP
4. Repulsion (1965) – MP
5. An Officer and a Spy (2019) – MP
6. Tess (1979) – MP
7. Knife in the Water (1962) – MS/MP
8. The Ghost Writer (2010) – MS
9. Macbeth (1971) – MS
10. Cul-De-Sac (1966) – HR/MS
11. The Pianist (2002) – HR/MS
12. Oliver Twist (2005)
13. Based on a True Story (2017)
14. Frantic (1988)
15. Bitter Moon (1992)
16. Death and the Maiden (1994)
17. Venus in Fur (2013)
18. What? (1972)
19. The Ninth Gate (1999)
20. The Fearless Vampire Killers (1967)
21. Pirates (1986)
22. The Palace (2023)
23. Carnage (2011)
Alexandre Desplats’ Scores for Venus in Fur and Based on a True Story are so damn good.
It’s fascinating that three of his films (Knife in the Water, Cul-De-Sac, Death and the Maiden) basically follows the same psychological ménage à trois formula where a couples’ lives are disrupted by the arrival of a stranger.
Favourite scene from every Roman Polanski:
* Knife in the Water (1962) – The knife fight
* Repulsion (1965) – The scene with the hands
* Cul-De-Sac (1966) – Opening 15 minutes with the car getting drowned
* The Fearless Vampire Killers (1967) – Sharon Tate getting hijacked while having a wash
* Rosemary’s Baby (1968) – The Satanic ritual
* Macbeth (1971) – The scene inside the witch coven
* What? (1972) – Escaping the Italian villa
* Chinatown (1974) – The escape on the street
* The Tenant (1976) – The double jump
* Tess (1979) – The mark on the ceiling
* Pirates (1986) – The rat scene
* Frantic (1988) – The wife disappearing scene/the dance at the nightclub
* Bitter Moon (1992) – The dance between the two leading ladies
* Death and the Maiden (1994) – The Ben Kingsley monologue
* The Ninth Gate (1999) – The gathering of the witch coven
* The Pianist (2002) – The apartment gets bombed and subsequent fallout
* Oliver Twist (2005) – The scene with the moon and the rope
* The Ghost Writer (2010) – The book inauguration climax
* Carnage (2011) – Not sure
* Venus in Fur (2013) – Amalric’s fate
* Based on a True Story (2017) – The escape in the night
* An Officer and a Spy (2019) – The crowd gathering and military degradation
* The Palace (2023) – Masucci addresses the hotel staff
Roman Polanski ranked:
1. Chinatown (1974)
2. Rosemary’s Baby (1968)
3. The Tenant (1976)
4. Repulsion (1965)
5. Tess (1979)
6. An Officer and a Spy (2019)
7. The Ghost Writer (2010)
8. Macbeth (1971)
9. Knife in the Water (1962)
10. Cul-de-sac (1966)
11. The Pianist (2002)
12. Oliver Twist (2005)
13. Based on a True Story (2017)
14. Frantic (1988)
15. Bitter Moon (1992)
16. Death and the Maiden (1994)
17. Venus in Fur (2013)
18. What? (1972)
19. The Ninth Gate (1999)
20. The Fearless Vampire Killers (1967)
21. The Palace (2023)
22. Carnage (2011)
23. Pirates (1986)
@Malith – Didn’t you have Chinatown ranked at # 4 previously? Overall this list looks good
@James Trapp- I watched Chinatown and Rosemary’s Baby again after watching their sequel/prequel recently.
@James Trapp- Have you managed to catch The Two Jakes and Apartment 7A? They are interesting films for sure. Same with 2010: The Year We Make Contact. Although that one is on a higher level for me and I loved more or less everything about it. These are not uninteresting drivel like Doctor Sleep.
@Malith – I have seen The Two Jakes, solid but not amazing, but not Apartment 7A
@James Trapp- I have a screenshot collection of Apartment 7A here.
https://imgur.com/a/apartment-7a-Tk01p6n
I read Robert Harris’ novel Pompei, which Polanski was set to direct with a $150 M budget in the late 2000s. It would have been an interesting fit for Polanski, most of the book leading up the erruption of a slower paced investigation with the lead checking out various water supplies and looking into corruption – kinda an ancient version of the first part of Chinatown. I’m not sure how he would have tackled the natural disaster setpiece but otherwise this actually could have been a great project.
@Harry- The plot sounds like The Two Jakes.
@Anderson – True, many earthquakes. We ended up getting The Ghost Writer instead so can’t complain.
https://www.broadwayworld.com/article/Roman-Polanskis-AN-OFFICER-AND-A-SPY-Sets-US-Premiere-at-Film-Forum-20250708
Pages for 1995 and 2023 seem to be broken on PC and mobile.
@Harry- So sorry- thanks Harry
I think both Macbeth (1971) and An Officer and a Spy (2019) are MS level films for Polanski. They are incredibly well photographed. Some of his best pure photography along with Tess. Period/medieval level detail. Costumes, locations, extras(which is unusual for him, 2 big films) with strong performances at its centre (Finch, Dujardin). The house of mirror sequence in Macbeth is one of the best sequences he has ever done with an all-timer of a final edit. There is a constantly repeated callback of the shot/scene at the caves which is also used in the finish. An Officer and a Spy is basically a thriller and it is very rare for a thriller to have this kind of production values/photography. There is tension in almost every frame (another Robert Harris novel/screenplay like The Ghost Writer, Conclave). And in one particular scene Polanski basically builds tension through his editing alone leading up to a riot. There is juxtaposition of the contrast of respect two seperate individuals receives by using the same scene twice but with very different reactions from the crowd. And the framing in the court room scenes are very strong. There is an epic pan with a never ending amount of extras in the opening and this scene ends with the removed items which is then called back in the ending. This is an incredible French cast assembled here. From Dujardin(his best work, sorry The Artist), Garrel, Seigner but also recognized French leading men like Mathieu Amalric and Melvil Poupaud in basically supporting roles. And also Vincent Perez. I’ve gathered some frames from Macbeth and An Officer and a Spy here.
https://imgur.com/a/macbeth-officer-spy-mOqAxWF