2002, R, 148 minutes

The Pianist isn't a movie you can enjoy so much as admire as a great achievement in filmmaking. Parts of it are entertaining, I suppose, but for the most part the story is comprised of moments that are simply dramatic and other moments that are downright appalling. So while it certainly won't have audiences dancing in the aisles, it is the kind of picture that deserves to be seen because it is quite obviously one of the finest films of the year.

Between Steven Spielberg's heart-wrenching Schindler's List and the absurdly overrated Life is Beautiful, I figured the holocaust aspects of World War II would not be depicted in another film for a number of years. That said, The Pianist accomplishes something Spielberg's masterpiece didn't - it makes the experience personal - and this is why the film is so much more than just another retread of the horrors of the holocaust. Yes, we are exposed to Nazi soldiers killing Jews with less hesitation than if they were shooting a dog, but director Roman Polanski is well aware of his predecessors and finds new ways to shock us without stretching the truth or being gratuitous. In fact, the first death that takes place on screen is so brutal and unforeseen it jarred me in a way I no longer thought possible.

The reason the Pianist is unique and refreshing is mainly the point of view it takes, as suggested by its singular title. Andrian Brody stars as a reputable pianist in Warsaw, living with his well-to-do family under the forced leadership of the Nazis, who by the beginning of the film have already invaded Poland. The remainder of the plot, which is based on a true story, follows his struggle to survive as the situation goes from bad to worse. In 1938, Warsaw had over a half million Jewish citizens, and by 1945 most of them were dead. This kind of statistic is not only horrifying, but is also a testament to how incredibly difficult it would be to make it. At his lowest times, and you can be sure there are plenty, what ultimately carries our hero through adversity is his music, which enables him to maintain a sense of humanity and never lose hope.

From a small revolt to a number of random killings, Brody's character is exposed to more than his share of death and destruction, but what is simply amazing about the film is its immense restraint. We never once leave his point of view for the sake of showcasing all of the horrible stuff we already know happened, and it is because of this that story feels personal and we care deeply about the outcome. No movie has ever made me respect and cherish the bed I am privileged to sleep in and the excess of food in my refrigerator more than this one.

Also worth mentioning is the superb performance from Adrian Brody. After having most of his role in The Thin Red Line removed from the final cut, this film will finally introduce one of Hollywood's most talented young actors to the general public. Many actors would have played the role up and exaggerated the highs and lows, but Brody maintains a stoic presence throughout with his glassy eyes, and we can sense his character's gradual decline over the years.

It is apparent when watching The Pianist that the film was crafted with great care and a personal touch. In fact, Polanski lived in Poland as a child and had to flee to the countryside when his parents were thrown into a concentration camp (where his mother eventually died). Maybe it was this personal connection to the material that has reinvigorated a has-been director who in 1974 made Chinatown - one of the greatest films of all time. The Pianist is remarkably subtle and poignant for a production of such a grand scale, and I can only hope it marks the return of a promising cinematic talent.