Roman Polanski: The truth about his notorious sex crime. Roman Polanski knew what he was doing when he named his 1.

Roman. Fortuitously, the word also means "novel" in French – the Polish film- maker was born in Paris – and his life has had the hectic fullness of a nightmare picaresque narrative. Polanski's mother died in Auschwitz; the young Roman escaped the Cracow ghetto, foraging to survive. Working in Poland and Britain, he made some of the defining films of the 1.

Knife in the Water, Repulsion, Cul- de- sac. He and his wife, the American actress Sharon Tate, became one of that decade's golden showbusiness couples. Polanski went to Hollywood and, in 1. Rosemary's Baby. Then came real- life horror – the murder of Tate, over eight months pregnant, by members of Charles Manson's "family". Polanski endured, although many wondered how, and no doubt disapproved of his continued ability to function. But function he did: in Chinatown (1. Watch Once Were Warriors Online Gorillavid on this page.

Los Angeles's most unforgiving cinematic take on its own history. But in March 1. 97. Polanski, then aged 4.

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Roman Polanski knew what he was doing when he named his 1984 memoir Roman. Fortuitously, the word also means "novel" in French – the Polish film-maker was born in. At long last, Issa Rae’s HBO series has arrived. But she’s been quietly working to change the industry for years now.

Early life. Polanski was born in Paris; he was the son of Bula (née Katz-Przedborska) and Ryszard Polański, a painter and manufacturer of sculptures, who had.

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2. When you installed Microsoft’s Word Flow keyboard on your iPhone, you probably thought it was an app or extension. Turns out, it was an “experiment,” an.
3. Examines the public scandal and private tragedy which led to legendary filmmaker Roman Polanski's sudden flight from the United States.
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He had been commissioned by Vogue Hommes to take a series of photographs of adolescent girls: he wanted to show them, he says in Roman, as "sexy, pert, and thoroughly human". Polanski was introduced to a 1. Samantha Gailey, and they met to shoot some photos outdoors . They met again on 1.

March for some indoor shots, and ended up at the Mulholland Drive house of Polanski's friend Jack Nicholson, who was away. Champagne was drunk, though accounts vary as to how much; Gailey claimed that Polanski gave her a Quaalude, the modish prescription drug of the time; they both ended up undressed in the Jacuzzi. Sex followed, but exactly under what circumstances only the two of them know for sure. Polanski expressed it tersely in his book: "She wasn't unresponsive." Gailey's account differed: three decades later, she recalled, "It was not consensual sex by any means..

It was very scary and, looking back, very creepy." Polanski was subsequently arrested and indicted on six counts: among them, perversion, sodomy and rape by use of drugs. What happened next – rather than what happened between Polanski and Gailey – is the subject of a new documentary, Roman Polanski: Wanted and Desired, that screens next Sunday (1.

October) in BBC2's Storyville strand. The film is not primarily about any perversion imputed to Polanski, but about a perversion of justice that, says its director Marina Zenovich, prevented both Gailey and Polanski the chance of a fair hearing. Using interviews and archive footage, Zenovich's film traces the legal machinations that culminated in Polanski fleeing LA on a plane to France, where he remains to this day, still risking arrest if he travels abroad. Zenovich became intrigued by the case in 2. Gailey – now Samantha Geimer – with her lawyer on a TV talk show. The lawyer said that the day Polanski fled was a sad day for the American judicial system." Precisely what that means, Zenovich argues, is that "Polanski fled because the rug was pulled out from under him. He was promised something and then the judge changed his mind."The key figure in the film, arguably, is neither Polanski nor Geimer, but Judge Laurence J Rittenband, who had presided over such celebrity cases as Elvis and Priscilla Presley's divorce.

Rittenband, who died in 1. And, Zenovich adds,"I find great irony in the fact that he had a girlfriend 3.

Hoping to preserve Geimer's anonymity, her attorney Lawrence Silver arranged for Polanski to plea- bargain, to keep the case from going to trial. Accordingly, Polanski pleaded guilty to the lowest of the counts against him, unlawful sexual intercourse. A probation report recommended against a custodial sentence, but Rittenband decreed that Polanski should have a spell undergoing "'diagnostic study" at Chino State Prison. However, he agreed to defer Polanski's custody to allow him to work on his next project, an action epic called Hurricane. At this point, Polanski made a massive tactical gaffe: on a trip to Europe, he allowed himself to be photographed, cigar in hand and surrounded by young women, at the Munich Oktoberfest.

Rittenband was furious; when Polanski returned to LA, he was sent straight to Chino. Polanski was released after 4. Polanski had been led to believe by Rittenband that after Chino, his time behind bars would be over.

However, the judge was overheard boasting at his country club that he would put Polanski away "for 1. This was just part of Rittenband's bizarre behaviour. We learn from Zenovich's film that the judge, anxious to impress on the media that he was in control of proceedings, twice proposed to prosecuting Assistant District Attorney Roger Gunson and to Polanski's defence lawyer Douglas Dalton that they should plead their cases to him, after which he would pronounce a sentence that he had decided beforehand – in effect, amounting to a mock trial. We learn that Rittenband was inordinately influenced by publicity, and that, quite inappropriately, he solicited other people's advice on how he should act: one of them, reporter Richard Brenneman, who was startled to be asked, "What the hell do I do with Polanski?"In the documentary, Geimer says of Rittenband, "He didn't care what happened to me, and he didn't care what happened to Polanski. He was orchestrating some little show ' that I didn't want to be in." Even Gunson comments – and this is the prosecutor, mark you – "I'm not surprised that [Polanski] left under those circumstances."Zenovich stresses that her film is about the law case itself, rather than the encounter between Polanski and Geimer. I honestly feel that no one can ever know exactly what happened that night between them," she says.

I didn't want to make a film about that – I'm not Fox News." But her carefully constructed film is startling in what it reveals about the US legal system, in which the execution of justice can apparently fall prey to the vagaries of a judge susceptible to media pressure. Rittenband was eventually removed from the Polanski case, but was heard declaring, when he stepped down from the bench in 1. Polanski yet. The film is also revealing about changing perceptions of Roman Polanski. He was, the film suggests, viewed in the US at the time as smacking of brimstone, cursed or even somewhat satanic himself – because of Tate's death, because of the subject of Rosemary's Baby, because of his bohemian repute as a European hedonist. He was seen by the press, says Brenneman, as a "malignant twisted dwarf with this dark vision". The title of Zenovich's film comes from the contention of a friend of Polanski that the director is wanted in the US, but desired – respected, lionised – in Europe; as witness, footage of Polanski's induction into the lofty Académie Française.

Further evidence of his mythic status on this side of the Atlantic is his appearance in the new Italian film Quiet Chaos: when the director, playing a tycoon, steps out of his limo for a last- minute cameo, you'd think a god had descended. Polanski's revered status, and friends' testimonies to his "appetite for life" don't affect the facts of the Geimer case; besides, the case is not being tried in Zenovich's film. But does Polanski emerge from the documentary, if not lily- white, then effectively absolved? Not everyone thinks so: a reviewer at the LA Weekly felt that "Polanski comes off as a whiny, self- styled victim and a liar". Zenovich confesses to being a fan of the director, but insists she didn't set out to present a sympathetic view. I was very conscious of keeping my opinions out of it – my type of film- making is more to step away and let you judge." But she believes her film has given the case a degree of closure.

It wasn't my intention, but I think this film helped everyone heal a little bit. Has Polanski said that to me? No, but I would guess so."Polanski himself appears in the documentary only in archive footage.

Zenovich asked to interview him but he declined.