The full-page ad in the Dec. 29 New York Times says Roman Polanski’s “The Pianist” is the Golden Globe nominee for “Best Picture” of the year. “Two Thumbs Up!” shout Ebert & Roeper, while Newsweek, the New York Observer and the San Francisco Society of Film Critics all sing out their glory, glory for “A Roman Polanski film.”

Establishment filmdom (via Polanski) serves up yet again another Jewish Holocaust special. But, one senses a deep, dark, sinister reason for Polanski’s profitable Holocaust film. One suspects Polanski to be conjuring up visions of murdered Jews as a smoke screen to shift their bloodied martyrdom onto himself, using the Holocaust as a shovel to bury the public memory of his own crimes as a brutal child rapist.

Some old folks will recall that Polanski, who commonly assaulted women cinematically, (“Repulsion,” “Rosemary’s Baby,” “Chinatown”), was convicted of drugging a 13-year-old girl with pills and champagne and then raping her in his hot tub.

Toasted by his sensitive filmdom friends with “13-year-old champagne,” Polanski fled the United States and lolled about in Europe where his pedophile lusts were considered so very creative.

Strange that Catholic pedopriests don’t receive the same laudatory media treatment as artsy filmdom child molesters.

The New York Times had been waiting breathlessly for the enfant pedophile filmmaker to return. It was in Jan. 16, 2000, that the paper gushed, fawned and genuflected to Polanski for his “artistic” perversity in, “Polanski, the Once and Future Auteur.”

Well, he’s baaaack. Polanski’s justification for producing and directing “The Pianist,” subtitle, “Surviving the Warsaw Ghetto Against Steep Odds,” is, sighs the New York Times, truly heart rending.

“Mr. Polanski, who was a Jewish child in Krakow when the Germans arrived in September 1939, presents [the Holocaust] story with bleak, acid humor and with a ruthless objectivity that encompasses both cynicism and compassion.”

While ruthless and cynical define little Roman Polanski, compassion is pure New York Times toadying.

The New York Times reviewer of “Piano” is in awe: “We also comfort ourselves in the vain belief that, had we been there, we would have bravely defied the Nazis, risking our own well-being to help their victims.”

Oh, not Roman. As a child rapist one could count on him to have become a concentration camp “Kapo.” These were Jewish men (and women) who were the overseers of other Jews. Kapos generally survived because they targeted others who, they said, should be exterminated.

Such a man is Roman, the little Jewish boy who grew up to imitate the worst Nazi storm troopers. He learned well. He became both a child rapist and a storm-trooping filmmaker.

So here we have a vicious child rapist rapturously eulogized, praised and celebrated by the hypocritical and dandified “art” world for condemning Nazis who were just like Roman.

The New York Times review casually observes that “One of Mr. Polanski’s trademarks is what might be called … a humane sadism … and he punishes his actors, peeling back their vanity.” Whose “vanity” is Polanski peeling, and what is “humane sadism?” Polanski, ever the arrogant, sadistic tormentor, never paid for his crime never faced a judge or jury and never even apologized to the child whose life he so brutally violated.

Now that Liam Neeson is planning to glamorize Dr. Alfred Kinsey in his upcoming propaganda flick, perhaps Francis Ford Coppola should see if Roman is free to do the directing of the new pedophile promotional.

It seems to this writer that Polanski has the perfect type of sensitivity for that film. Who better than a bona fide child molester to properly promote Kinsey, “the father of pedophile chic?”

The New York Times mentions that “The Pianist,” released by Focus Features, “is rated R (Under 17 requires accompanying parent or adult guardian),” for it contains “many scenes of extreme violence.”

That much is consistent with the filmmaker’s own life.

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