Hellen I like the storyline of this show,it attract me so much

Exoticalot People are voting emotionally.

Kirandeep Yoder The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

Isbel A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

christopher-underwood A marvellous first feature and although Polanski was approached to remake the film with big US stars, he said he wasn't interested in repeating himself. To give him credit, he never did. It is usually possible to tell a Polanski film fairly quickly because of the slightly off kilter subject and the dialogue. This one, probably not, for although it is incredibly well made, presumably under difficult circumstances, it is more pastoral than any of his others. True there is the human triangle here with two men battling it out, here not particularly for the woman but because they must. It strikes me that we are given enough hints in the wonderful car sequence at the start, that all is not entirely well in the couple's relationship and it is the emergence of the young student that seems to give him a chance to show how good he jolly well is. Great music, great composition, spot on dialogue and a major achievement to entertain so fully with simply a cast of three and all in glorious black and white.

lasttimeisaw Roman Polanski's well-acclaimed feature debut, is the only film he has made in his native country Poland. KNIFE IN THE WATER is an intelligent drama exclusively resolves around three people, Andrzej (Niemczyk), his wife Krystyna (Umecka) and an unnamed young man (Malanowicz) with minimal locations.Middle-aged Andrzej, driving with his much younger wife Krystyna on their way to a daily sailing, en route, Andrzej almost knocks off a reckless hitchhiker, outraged, he still agrees to take the stranger, and eventually invites him to join them together for the excursion, here, Polanski hints the motivation, since the young man claims he doesn't have the faintest about sailing and cannot swim at all, as a man twice of his age, Andrzej's intention to teach him some hard lessons and make himself look good (an ego boost is very much needed because things are not very smooth between him and Krystyna as well) is quite obvious.The journey starts in a predicted direction, Andrzej is the self-claimed captain, as if he were a seasoned seafarer, instructs the young man with basic nautical techniques, teases him for his clumsiness, and gets offended when his yarn turns out to be a bore to his guest. The tension between the two men (two generations) is tangible, but out of courtesy and etiquette, it has been buried underneath the surface, there is even a peaceful period when all of them hide inside the sailing boat and spend a night during an unexpected tempest. The next day, what triggers the falling-out is actually very understated, but a sensitive soul may sense Andrzej's jealousy when he wakes up and finds out both Krystyna and the young man have already been staying outside, there is no inappropriate behaviours between them (as far as what Polanski shows us), but the insecurity of his sexual competence (especially facing the competition of a young man's hormones) pesters him even subconsciously, and soon it evolves into a battle of egos.From the young man's angle, he is not a wide-eyed simpleton, before accepting the invitation, he already betrays his complacency by saying that "he knows Andrzej will ask him to go with them", what does it mean? He is astute enough to predict Andrzej's motivation and is willing to take the challenge, with the fringe benefit of experiencing the middle-class luxury. Considering the time of the Communist Poland, it is an invitation rather tempting for a homeless youngster, but his rebellious nature will not yield to Andrzej's overreaching dominion though, he has nothing to lose, and his knife becomes the symbol of the eminent danger. It is understandable Polanski at that age, decides to side with him to outsmart his rival in the end, thanks to a telling lie ("I can't swim").But the film is not just a duel between two men, Krystyna is the key balance, in the beginning, she is introduced as an unassuming wife with an unprepossessing wig and rather dark complexion. And she is extremely disinterested in the bonding-and-clashing process between the two men, maybe she has witnessed such happenings many too often from Andrzej, and being a dab hand in sailing, one assumes she must have undergone the same tutoring from him, thus she simply has lost any interest in participation. But when she gets close the young man, the undercurrent of sexual tension starts to surface, she sultry sex appeal also slowly unfolds, especially after their song-and- poetry exchange inside the boat, she seems to find a kindred spirit. When the accident occurs, her resentment towards Andrzej explodes, and canoodling with a young man becomes her revenge to their insipid marriage (why woman can only use her sexuality as the weapon to rebel? - that's my disagreement with the film). Then the coda, when the interloper disappears, facing the crossroad, she can triumphantly take the moral high ground and keep this incident as a trumping card without the fabrication of a lie, because the egocentric Andrzej will never believe her story, aka. the truth and admit he has been fooled by the young man, a superb ending with perfect ambiguity.KNIFE IN THE WATER is a bracingly competent debut, largely shuns the disadvantages (e.g. self- absorbed pretension or becoming visually dreary) of a 3-way cast and limited settings, also it contains the accomplishment of its Jazz-fused soundtrack. But if one expects it being a taut thriller, it is not at that tempo at all, a solemn character drama is the right categorisation.

Robert J. Maxwell It's a rather long movie for what it has to say, and I'm not sure what it has to say.A man and his wife (or girl friend) pick up a young hitch-hiker and for no discernible reason invite him to spend the day sailing on the driver's smallish schooner. The older man shows the younger how to handle a sail boat, acting a little pompous in the process. The young man becomes truculent. The two men punch each other and the hitch-hiker falls into the lake. He's claimed earlier than he can't swim although, in fact, he swims well. The older man dives overboard and searches. Unable to find the other guy, he becomes frazzled and swims to shore. The girl is left alone on the yacht.At this point the younger man swims up to the boat, climbs aboard while the girl watches him blankly from a distance. They make love. They finally take the boat in towards the marina and the young man leaps ashore and disappears before they reach it.The driver is waiting for her on the pier. He thinks that the young man has drowned and he feels responsible, talks about going to the police. Driving along in the car, she reveals that she and the younger man played doctor together. He doesn't believe her. He stops the car in front of a sign that read "Police, 5 Miles." The couple sit in silence. Fade Out.Now, this review must sound a little dull, I know, but it's an accurate image of the film itself which is full of irrelevant details, screwy scenes, and non sequiturs. The acting is passable, though the young man's and the girl's voices were dubbed later. The girl, Jolanta Umecka, is rather more than passable. At the opening, with her bound hair, harlequin glasses, and stiffly held neck, she looks like a nerd. When she sheds all those properties and dons a modest "bikini", she no longer looks like a nerd, and her sensuous features have a predatory cast. Wow.But this belongs to early Polanski, like "Cul de Sac." Beautiful babes in a will-of-the-wisp story. He went through a phase of near masterpieces later -- "Rosemary's Baby" and the superb "Chinatown." Lately he's been coming out with films of mixed quality, sometimes as puzzling as his first efforts.I'm leaving out "Two Men and a Wardrobe" because that's borrowed from theater of the absurd and doesn't fit the pattern. I haven't seen any of his earlier work other than those I've mentioned.Some have obviously gotten more out of this than I did. I thought it was okay, but not more than that. Too much pointless rambling.

gavin6942 A man and his wife go sailing for the afternoon, taking a hitchhiker with them. As a storm approaches, they are forced to stay on the boat overnight. The threat of violence lurks.This film will be of interest to anyone who admires the work of Roman Polanski. Polanski was said to be only the second protégé of the Lodz Film School to achieve international success. The first was Andrzej Wajda, and we can safely assume that Polanski was far more successful and influential.This film in particular earned him an Oscar nomination for best foreign film, and catapulted him to fame by putting him on the cover of Time magazine in 1963. For me, I think the hype is too much: all I really learned from this picture is that Polanski likes wild jazz music and that in Poland people will steal your windshield wipers.Critic Michael Koresky has a much deeper view of the film, saying it expresses class warfare, class envy, eroticism, tension, isolation and carries an "atmosphere of recumbent terror". This is grossly overstating the facts. There is some tension, and being that the film takes place on boat, isolation naturally follows. But the rest is a bit of a stretch.The class envy or warfare aspect you can only see if told to look for it, which leads me to believe it is probably not there. One man is an author and another a hitchhiker, but any struggle they may have does not appear to arise from class. Eroticism is also a stretch, as I kept thinking the film would become erotic, but it borders on it a few times without crossing over. The closest to anything erotic in this film is a young man in tight shorts, and this is hardly sexually appealing. The atmosphere of recumbent terror is a beautiful phrase but would be better used on another film.The film is strong in the area of visuals. Polanski has made a striking film in contrasting black and white, his angles and use of zooms and wide shots is excellent. So, on a technical level, I cannot say anything bad about the film. But the plot is just not there. I spent the film waiting for something to break... the tension would rise and lower, but never reached a crescendo. I cannot call this one of my favorite Polanski films.