Roman Polanski is a man on the run. He has been a man on the run since 1977 when he fled the U.S while awaiting sentencing after pleading guilty to the rape of a 13-year-old child, among other charges. In the intervening 43 years, he has continued to be a successful and sought-after filmmaker, winning accolades and awards, including an Oscar in 2002. He is even winning awards in 2020. In February, for his latest effort “An Officer and a Spy”, Polanski took home the prestigious César for best director, one of the most coveted prizes in world cinema. How is it possible that in the era of #MeToo, a convicted sex offender can still find such success? Harvey Weinstein is currently rotting in a New York jail cell. Kevin Spacey was removed from a movie and replaced days before it was due to be released. Numerous others will never work in the industry again. Is Polanski just so god-damned talented that the severity of his crimes is irrelevant?
I will hold my hands up and admit that the Polanski directed Chinatown is easily one of my favourite films of all time. It is, in my opinion, a masterpiece. Jack Nicholson’s performance as the jaded private investigator Jake Gittes is one of his finest and the famously dark and pessimistic ending is unrivalled. The first time I saw Chinatown was the first time I ever felt uneasy and even dirty after watching a movie. Only a select few movies have ever come close to replicating that feeling in the years since.
After that first viewing of Chinatown, I did what many do after watching a film these days, I googled it. I was horrified when I discovered what the director of the movie had done. I found it almost impossible to reconcile the fact that someone who had created something that I enjoyed so much was capable of something so terrible. I was also extremely confused. How was it that this fugitive from justice was still loved by Hollywood? I assumed he would be a total pariah, his name only ever mentioned in hushed tones, an unsavoury chapter of Hollywood history that the establishment would rather forget.
After his Oscar win for The Pianist in 2002, the Academy rose from their seats and gave Polanski a standing ovation.
If Johnny Depp was to win an Oscar, would the Academy give him a standing ovation? I doubt it.
Polanski is the living, human embodiment of Hollywood’s hypocrisy and hollowness. Many actors, producers and directors have been held to account as a result of the #MeToo movement, and rightfully so. For too long, the people who run the film industry have been able to conduct themselves however they wish without fear of consequence. However, is the condemnation that follows genuine or just an attempt to stay relevant? Whenever someone in the industry is exposed for their behaviour, they are shunned and we see celebrity after celebrity rushing to social media to denounce them, to say they wished they had never worked with them, to say they are disgusted.
This is the problem with Polanski, it has never been cool to criticise him. Having a go at Polanski was not an activity that would raise your profile. In the years following his conviction, it was cool to make movies with the “misunderstood, tortured artist”. Actors and artists lined up to fly to Europe and be in his films, while his crimes were common knowledge. There is no defence to be made here, you cannot plead ignorance, and you cannot say you didn’t know.
Instead, all you can do is admit that you made a mistake. Admit that you were greedy. Ask for forgiveness and try to explain. Promise the people that you will do better in future. Maybe if you’re lucky, the court of public opinion will choose to be understanding.
The #MeToo movement has been incredibly empowering for so many people, it has given a voice to the voiceless, and ensured a higher level of accountability for everyone going forward.
But until Hollywood can find some sort of consistency when it comes to punishing crimes, it will continue to seem like it’s just part of the act.