Directed by Raymond Roman Thierry Polański off a screenplay by Ronald Harwood which was based on the memoirs of Władysław Szpilman, ‘The Pianist’ (2002), is a moving and harrowing depiction of life under Nazi occupation during World War II.
The film traces Szpilman's struggle to survive the destruction of the Warsaw (Poland) Ghetto and the broader genocidal policies of the Nazi regime. Through powerful imagery, minimalist dialogue, and the emotionally evocative presence of music, Polanski presents a deeply personal narrative that is also historically significant.
While the film is primarily a survival story, its representation of wartime atrocities opens up a critical conversation on the violations of international humanitarian law (IHL), particularly in relation to the protection of civilians and the obligations of occupying forces.
From an international legal perspective, ‘The Pianist’ acts as a visual record of the breakdown of legal norms during conflict. Though the primary objective of the film is not to provide a legal analysis, it nonetheless reflects key violations of the laws of war as understood both at the time and under modern interpretations of IHL. The viewer is not merely a spectator to one man’s survival; they are also witness to the collapse of legal and moral order in an occupied territory. This makes the film not just artistically significant, but also an important educational resource in understanding the real-life consequences of disregarding humanitarian principles in armed conflict.
Historical context and legal framework
The events depicted in ‘The Pianist’ take place during one of the most devastating conflicts in human history – WW II. At this time, international law concerning the conduct of armed conflict was governed by the Hague Conventions of 1899 and 1907, as well as the 1929 Geneva Convention on Prisoners of War.
Although the comprehensive 1949 Geneva Conventions had not yet been adopted, many core principles of IHL, such as the protection of civilians, the humane treatment of detainees, and restrictions on unnecessary suffering, were already considered part of customary international law. These rules were binding on states and individuals alike, even if their codification would be completed only in the aftermath of the war.
In this context, the actions of Nazi Germany in occupied Poland, particularly in Warsaw, represented some of the most egregious violations of these legal norms. The film portrays numerous instances of systemic abuse, including forced ghettoisation, extrajudicial killings, and collective punishment, which stand in stark contrast to the obligations imposed by IHL. These actions demonstrate the absence of respect for the legal frameworks meant to safeguard human dignity during conflict. The law was not merely ignored — it was deliberately and systematically overridden. The absence of legal accountability at the time contributes to the emotional weight of the film and highlights why the post-war development of stronger legal enforcement mechanisms was so crucial.
Civilians as targets
One of the foundational principles of IHL is the principle of distinction, which requires warring parties to distinguish at all times between combatants and civilians. Civilians must not be targeted, and attacks must be directed solely at military objectives. ‘The Pianist’ documents numerous breaches of this principle with brutal clarity. In one unforgettable scene, German soldiers storm into an apartment and casually throw an elderly Jewish man in a wheelchair off a balcony because he is physically unable to stand in their presence. Other scenes show mass shootings of unarmed civilians, including children, in the streets and in the Ghetto. These are not accidental deaths in the fog of war; they are acts of targeted violence against non-combatants.
Such scenes offer a vivid depiction of the consequences of failing to uphold the distinction between civilians and combatants. By making civilians the direct object of violence and terror, the Nazi regime not only violated the principle of distinction but also eroded the fundamental humanity that IHL seeks to preserve during wartime. The deliberate targeting of unarmed individuals, including entire families, reflects the reality of genocide and ethnic cleansing, crimes that go beyond ordinary violations of the laws of war and enters the realm of crimes against humanity. Through its stark and unfiltered presentation of such acts, ‘The Pianist’ forces viewers to confront the moral and legal void that emerges when the most basic tenets of IHL are ignored.
Forced displacement and inhumane conditions
Another central violation of IHL highlighted in ‘The Pianist’ is the forced displacement and internment of Jewish civilians within the Warsaw Ghetto. The Nazi policy of ghettoisation confined Jews to overcrowded, unsanitary, and heavily policed areas where starvation, disease, and violence were rampant. These actions clearly contravened the obligations of an occupying power to protect the civilian population under its control, as stipulated in the Hague Regulations and later reinforced in the Fourth Geneva Convention of 1949. Though not yet codified at the time, the ethical imperative to treat civilians humanely and provide for their basic needs was already recognised.
The inhumane conditions in the Ghetto – as shown through scenes of people starving, dying in the streets, and fighting over scraps of food – demonstrate the complete failure of the occupying forces to meet these obligations. Rather than ensuring public order and safety, the German authorities deliberately created an environment of death and despair. Deportations from the Ghetto to extermination camps like Treblinka further compounded these violations. The use of forced relocation and starvation as tools of war represents a particularly grotesque abuse of power, illustrating why post-war developments in IHL sought to explicitly criminalise such acts.
The role of music and the preservation of humanity
Amid the despair and degradation of war, ‘The Pianist’ offers one recurring symbol of hope and resistance: music. For Szpilman, music is not only his profession but also a source of identity, memory, and emotional endurance. Even as the world around him collapses, the piano becomes a silent companion — a symbol of life before the war and of the humanity that the Nazis sought to erase. In a powerful scene near the end of the film, Szpilman, hiding in a ruined house, plays a moving piece (‘Ballade No. 1 in G minor, Op. 23 by Frédéric François Chopin’) for a German officer who discovers him. In that moment, music transcends language and politics; it becomes a testament to the human spirit’s capacity for beauty amid horror.
From the perspective of IHL, this touches upon the protection of cultural property during armed conflict. While not the central focus of most IHL discourse, the preservation of cultural life and identity is safeguarded under instruments like the 1954 Hague Convention on the Protection of Cultural Property in the Event of Armed Conflict. The systematic destruction of Jewish cultural institutions by the Nazis, including libraries, synagogues, and art, represents a form of cultural warfare. Szpilman’s piano, and his continued ability to play it, stands as an act of defiance against this erasure. In this way, ‘The Pianist’ also illustrates how the protection of cultural heritage is intertwined with the preservation of dignity and identity in war.
Individual responsibility and war crimes
An intriguing aspect of ‘The Pianist’ is its subtle exploration of individual responsibility amid systemic evil. The character of Wehrmacht Captain Wilhelm Adalbert Hosenfeld, the German officer who spares Szpilman’s life and even aids him, represents a rare example of moral agency within an otherwise criminal system. Hosenfeld’s actions highlight a crucial principle of modern IHL: that individual soldiers and officers have a duty to resist unlawful orders and to act in accordance with humanitarian principles. Though the film does not delve deeply into his character, his decision to treat Szpilman humanely stands out as a poignant reminder that war does not absolve individuals of moral and legal accountability.
This theme resonates with post-war developments in international criminal law, particularly the Nuremberg Trials, which established that individuals, including heads of state and military officers, could be held accountable for war crimes and crimes against humanity. ‘The Pianist’ indirectly reinforces the importance of these principles by showing that even in the midst of widespread atrocity, choices are possible. Hosenfeld’s fate – dying in a Soviet prison after the war – underscores the tragic complexity of individual roles within a criminal regime, but, his final act of compassion toward Szpilman suggests that IHL is not merely a set of rules but a guide to human conduct that can be upheld, even in the darkest times.
Conclusion
In conclusion, ‘The Pianist’ is a cinematic masterpiece that transcends its narrative as a survival story to offer deep insights into the failures — and rare upholding — of IHL during WW II. Through its meticulous depiction of life in the Warsaw Ghetto, the brutality of the Nazi occupation, and the moments of humanity that punctuate Szpilman’s ordeal, the film vividly illustrates the importance of protecting civilian life and dignity in armed conflict. It is a sobering reminder of what happens when law and morality are cast aside in favour of ideology and violence.
For students, practitioners, and scholars of IHL, ‘The Pianist’ offers more than emotional resonance; it serves as a case study in the relevance of legal principles during war. Its nuanced portrayal of both atrocity and compassion reflects the complexity of human behaviour in conflict and reaffirms the vital role of international law in shaping responses to violence. Ultimately, the film reinforces the belief that even in the bleakest of circumstances, the principles of humanity can survive – and that the law must always strive to protect them.
(The writer is an attorney and a Lecturer of Law at the Colombo University)
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The views and opinions expressed in this article are those of the author, and do not necessarily reflect those of this publication