ROMAN POLANSKI: WANTED AND DESIRED - DVD review

My generation grew up thinking the high profile court case from our era was the O.J. Simpson trial. Cameras, white Ford Broncos, surprise witnesses and Judge Lance Itos were the norm. I was too young at the time to understand some greater issues happening around media coverage, race, famous people and the way all interacted with our criminal justice system. Little did I know that decades before there was a case with larger controversy, criticism, star power and international implications.

I imagine you've heard by now that Roman Polanski was arrested when he arrived in Zurich, Switzerland in late September. United States federal law enforcement hasn't really been after the man, but they haven't forgotten about him skipping out after a trial conviction but before a sentence was communicated in the late 1970s. Polanski was arrested in 1977 for several charges stemming from a sex scandal with a thirteen-year-old girl, and while some media and legal messes played themselves out, he continued to work and ultimately fled the U.S. Since then, he's kept a moderate profile in Europe, but never set foot on American soil.

As I watched this re-release of "Roman Polanski: Wanted and Desired" from Image Entertainment, I had to remember that this review isn't a critique on Polanski as a man, director or human being. It's entirely about Marina Zenovich's film, which is super entertaining, well researched and put together. There is meticulous detail throughout, and the story, which in its simplest form seems like it should be an open and shut case, is extremely more complicated than you could ever anticipate.

One can't grasp the film without grasping the story. Polanski's life isn't the most rosy or simple, but neither is Zenovich's documentary. Interestingly, the two parallel each other and raise some questions about the way rules are or aren't applied to a famous person, and whether or not that person is held to a different standard by local, national and international media coverage.

We learn early on that Polanski, whose parents were Polish Jews, was born in Paris but relocated to Poland just before World War II got going. As the Nazis invaded, his parents were put into concentration camps, but Polanski escaped the Krakow Gheto and survived the Holocaust. He attended Polish film school and started with small productions in the early 1950s. He became highly known after moving back to France, and broke into American cinema with 1968's "Rosemary's Baby." A year later, his wife, Sharon Tate, was murdered violently by Charles Manson followers at their southern California home. Although Polanski was in London during the murder, local police had no initial suspects, and ended up investigating him for the crimes. This thrust his personal life into the international media scene unlike never before, and undoubtedly had an influence on his career and life thereafter.

Polanski wasn't afraid to be up front with his lifestyle. He publicly stated many times he preferred young women, and quickly became known in southern California as a party goer and fun lover. The case in question actually got underway because he had done some work for international magazines photographing young girls, and after making a name for himself in the U.S., sought to continue this practice. The girl met Polianski at Jack Nicholson's home, and claimed he gave her alcohol and sedatives prior to performing oral sex, intercourse and sodomy on her. Polanski was eventually arrested and charged with furnishing a controlled substance to a minor, committing a lewd or lascivious act on a child, unlawful sexual intercourse, rape by use of drugs, perversion and sodomy.

The film takes Polanski's charges very seriously. It presents new interviews with Los Angeles Police Detective Philip Vannatter (he collected evidence at the crime scene and initially arrested Polanski), Assistant District Attorneys Jim Grodin and David Wells (they helped build the case against Polanski from the initial accusations and processed the film from his camera depicting the young girl), Defense Attorney Douglas Dalton (Polanski's lawyer) and Assistant District Attorney Roger Gunson (he led the charge in prosecuting Polanski). All now retired, these men present their accounts with clear, detailed and critical terminology. It's obvious this matter has left a major indentation on their minds, and they speak about the case as though it has never really ended.

Aside from Polanski, the film critically analyzes Laurence J. Rittenband, the presiding judge. He was the senior judge in Santa Monica, meaning he had first crack at cases dubbed "high profile." Rittenband had handled many celebrity cases to date, and according to those interviewed, loved the spotlight just as much as the high profile men and women who entered his courtroom. One reporter who followed the case from start to finish described him as a director who gave orders and orchestrated movement from the bench. The film compares Polanski and Rittenband with some unique similarities: both were shorter men, had friends in the movie industry, loved younger women and wanted to be the center of attention.

Everyone, including media personnel, the prosecution, the defense and Polanski sensed something was up with Rittenband. The prosecution and defense both state during the film that Rittenband approached them after Polanski pled guilty to unlawful sexual intercourse with a minor and asked for each to argue on specific elements around a sentence. The attorneys, knowing the judge was to pass a specific sentence regardless, did so with some hesitation and discomfort. After Polanski served just 42 of 90 days in a court mandated psychiatric evaluation and was released, he continued working and closed-door sentencing hearings began again. Convinced he wasn't getting a fair shake and not willing to serve prison or jail time, Polanski left southern California in early February, 1978, and has never returned.

Thankfully, this film doesn't make anyone out to be a hero or victim. Polanski is clearly the main subject, but the young girl, Samantha Gailey (who is interviewed at several different points in the film), takes some punches and dishes a few also. The attorneys all have their positions and point fingers, but hesitate to single out any one element or individual for full responsibility. There's much to debate and even more to analyze, but rather than push viewers one way or the other, "Roman Polanski: Wanted and Desired" pulls critical information from the court papers, international media, experts, colleagues and critics to establish a really solid documentary.

There's incredible balance between facts and stories throughout. Some paint Polanski as a cinematic genius who made a mistake, while others simply think he should pay for what he did in the same country where he did it. His victim's testimony still conflicts with his version of the events, but according to the periodic text we see and read throughout, she publicly forgave him in 1997. Her two cents don't necessarily blame Polanski, but rather are critical of how the story was publicly explained and communicated to the world.

"Roman Polanski: Wanted and Desired" feels a lot like David Fincher's "Zodiac." It's chilling but factual, and has a cinematic feel rather than a true crime sensation. For a documentary, it incorporates so much good stuff you'll be impressed, but not so much that you'll be slammed in intricate details that aren't applicable or interesting. I thought it took a story once so visible and public to a new level, and added new elements to establish a high quality experience, not just superb film.

Video:
The documentary uniquely blends color, black and white, still photographs, video montages and personal interviews in a crisp and clear 1.78:1 widescreen transfer. Considering so much footage comes from decades past, the quality and vibrancy were a pleasant surprise. The recent interviews with prosecuting attorneys, defense lawyers, law enforcement staff and media personnel are all balanced with bright and dark colors.

Audio:
Two different Dolby Digital soundtracks are available: a 5.1 and a 2.0. I watched with the 5.1 and was pleased. This is pretty much all spoken word from begin to end, and there's little difficulty in hearing the entire film. English and Spanish subtitles are provided. Some interviews happen in Polish or French, and are subtitled in English. Old interview clips from thirty to forty years ago are easily audible, as are the snippets from television reports and photographer's cameras.

Extras:
There's a pretty healthy offering here, including an audio commentary from director Marina Zenovich and editor Joe Bini, some deleted scenes and two additional hours with never before seen interviews featuring the case's main players. There's more insight buried in the extras than you may imagine, but just know that those who you'll hear from throughout have their own perspectives to share in addition to the facts, figures and statistics.

A Final Word:
This tale deserves all the recognition it's received, including awards from independent film festivals and a rerelease on DVD. It's not something that will require you to take notes to get its jist, but will instead raise questions about how justice is or is not articulated over time. You'll probably be uneasy now and again if you watch, which speaks to the magnitude this case has retained over time.