(DVD) The Pianist (2002) สงคราม ความหวัง บัลลังก์เกียรติยศ (มีพากย์ไทย)

The Pianist (2002) สงคราม ความหวัง บัลลังก์เกียรติยศ
ประเภทแผ่น: DVD
แนวภาพยนตร์: ชีวประวัติ, ชีวิต, สงคราม (Biography, Drama, War)

คะแนนจาก IMDB = 8.5/10 (ผู้โหวต 495,124 คน) (ได้รับคะแนนนิยมสูงสุดเป็นอันดับที่ 43 ของเว็บ IMDB)
คะแนนจาก Rottentomatoes = 96/100 (จากนักวิจารณ์ 178 คน) และ 95/100 (จากนักดูหนัง 251,529 คน)

+++ เรื่องย่อ +++

1 ในหนัง 1,001 เรื่องที่ห้ามพลาดในชาตินี้
(1001 Movies You Must See Before You Die)

ดัดแปลงมาจากงานเขียนเชิงอัตชีวประวัติของ วลาดิสลอว์ ซพิลแมน อดีตนักแต่งเพลงและนักดนตรีชื่อดัง ในแวดวงวิทยุกระจายเสียงของโปแลนด์ ตอนช่วงที่ทหารนาซีเริ่มบุกเข้ามาในปี 1939 The Pianist คือหนังที่สะท้อนภาพแท้จริง ของชะตากรรมคนยิวในช่วงสงครามโลกครั้งที่ 2 ได้ตรงตามความเป็นจริง มากกว่าหนังเรื่องใดๆ

=== รายละเอียด ===

ภาษา (Language)
English, Thai

บรรยาย (Subtitles)
English, Thai

จำนวนแผ่น (Disc Total): 1 แผ่น
สร้างโดย (Studio):
จัดจำหน่ายโดย (Copyright): Know How

ราคาปก 199 บาท
ราคาขาย 99 บาท

นำแสดงโดย Adrien Brody, Thomas Kretschmann, Frank Finlay
กำกับโดย Roman Polanski
ความยาว 148 นาที

++ Storyline ++

The Pianist is a 2002 historical drama film co-produced and directed by Roman Polanski, scripted by Ronald Harwood, and starring Adrien Brody. It is based on the autobiographical book The Pianist, a World War II memoir by the Polish-Jewish pianist and composer Władysław Szpilman. The film was a co-production between France, the United Kingdom, Germany, and Poland.

The Pianist met with significant critical praise and received multiple awards and nominations. It was awarded the Palme d'Or at the 2002 Cannes Film Festival. At the 75th Academy Awards, The Pianist won Oscars for Best Director (Polanski), Best Adapted Screenplay (Ronald Harwood), and Best Actor (Brody), and was also nominated for four other awards, including the Academy Award for Best Picture. It also won the BAFTA Award for Best Film and BAFTA Award for Best Direction in 2003 and seven French Césars including Best Picture, Best Director, and Best Actor for Brody.

The Pianist received high critical acclaim from critics, with Brody's performance receiving extreme praise. It has a 96% approval rating on the review aggregator website Rotten Tomatoes, based on 178 reviews with an average rating of 8.2/10 and the consensus, "Well-acted and dramatically moving, The Pianist is Polanski's best work in years."Metacritic, which assigns a weighted average score, gave the film a score of 85/100, based on 40 reviews from critics.

Roger Ebert of the Chicago Sun-Times gave a positive review of the film, noting that "perhaps that impassive quality reflects what [director Roman] Polanski wants to say... By showing Szpilman as a survivor but not a fighter or a hero—as a man who does all he can to save himself, but would have died without enormous good luck and the kindness of a few non-Jews—Polanski is reflecting... his own deepest feelings: that he survived, but need not have, and that his mother died and left a wound that had never healed."Michael Wilmington of the Chicago Tribune said that the film "is the best dramatic feature I've seen on the Holocaust experience, so powerful a statement on war, inhumanity and art's redemption that it may signal Polanski's artistic redemption." He would later go on to say that the film "illustrates that theme and proves that Polanski's own art has survived the chaos of his life -- and the hell that war and bigotry once made of it."Richard Schickel of Time called it a "raw, unblinkable film" and said that "We admire this film for its harsh objectivity and refusal to seek our tears, our sympathies."Mick LaSalle of the San Francisco Chronicle said that the film "contains moments of irony, of ambiguity and of strange beauty, as when we finally get a look at Warsaw and see a panorama of destruction, a world of color bombed into black-and-white devastation." He also said that "In the course of showing us a struggle for survival, in all its animal simplicity, Polanski also gives us humanity, in all its complexity."A.O. Scott of The New York Times said that Szpilman "comes to resemble one of Samuel Beckett's gaunt existential clowns, shambling through a barren, bombed-out landscape clutching a jar of pickles. He is like the walking punchline to a cosmic jest of unfathomable cruelty." He also felt that "Szpilman's encounter, in the war's last days, with a music-loving Nazi officer... ...courted sentimentality by associating the love of art with moral decency, an equation the Nazis themselves, steeped in Beethoven and Wagner, definitively refuted."

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