I don't know why, but I think the shooting is dull. This subject could have been filmed dangerously and intensely, but it could also be vigorously sensational at the climax, but this film did not choose to deal with it in this way. Maybe the director did it deliberately, but he doesn't feel like it. Probably to appear real. If you follow the usual methods, you should try to exaggerate Wladyslaw Szpilman's love for the piano and create an atmosphere where art is above all else. The climax paragraph, that is, when Szpilman meets a German officer, he should also be rendered more exaggerated, and he will never stop if he does not incite people to cry. If a film does not even cry for me, then its sensationalism has been quite a failure.
In fact, the film is more about the process of Szpilman trembling and trying to survive. He didn't portray him as a hero, but relatively objectively, he appeared as an ordinary young man with a bit of fame and luck, who had no sense of self-sacrifice for higher goals, and knew how to cherish life. Relatively speaking, the German officer who helped him in the end looked more like a hero. Although when he became a prisoner of war, he also demanded a chance of survival in a humble posture. Feng Shui turns around.
No matter how great art is, in the face of basic survival, it still has to stand aside.
This film is sad. Why can people hate each other to such a degree. This is not entirely the evil of the Germans, and it is not entirely the evil of the Nazis. No one can get rid of the relationship. This is the common sin and sorrow of mankind. And similar things are still happening.
Some ideologies are terribly dangerous. I believe that the destruction that thought can cause far exceeds materiality. Sometimes I think Nietzsche is a lunatic.
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