Music in Polanski's Films

China Town was approached as a film noir set in Los Angeles in the 1940s, Jerry Goldsmith wrote one of his most inspired scores in only two weeks. A jazz-influenced haunting melody played by a trumpet, a string orchestra and an innovative orchestral line up, with four pianos and four harps, create the most unexpected sound.

The 80s music in Bitter Moon

The haunting melodies of Komeda in Rosemary's Baby

And obviously Polanski's use of Chopin's music as a symbolic extranarrative language in The Pianist.

Wladyslaw Szpilman's (1999) memoir and Roman Polanski's film interpretation become dual points of entry for exploring certain intrapsychic functions of music in the context of massive trauma. Read more at Melodic Trains.