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Polanski was born as Rajmund Roman Thierry Pola?ski in Paris, France, the son of Bula (née Katz-Przedborska) and Ryszard Pola?ski (né Liebling), a painter and plastics manufacturer. His mother had a daughter, Annette, by her previous husband. Annette managed to survive Auschwitz, where her mother died, and left Poland forever for France. His father was Jewish and his Russian-born mother had been raised Roman Catholic. His mother's father was Jewish, but not observant. Ryszard Liebling had changed his surname to Pola?ski in early 1932. The Pola?ski family moved back to the Polish city of Kraków in 1936, and were living there when the World War II began with the invasion of Poland. Neither of Roman Polanski's parents was religious. Kraków was soon occupied by the German forces. Nazi racial and religious purity laws made the Pola?skis targets of persecution and forced them into the Kraków Ghetto, along with thousands of the city's Jews.

His father survived the Mauthausen-Gusen concentration camp in Austria, but his mother perished at Auschwitz. Pola?ski himself escaped the Kraków Ghetto in 1943 and survived the war using the name Romek Wilk with the help of some Polish Roman Catholic families. As a Jewish child in hiding, he behaved outwardly as a Roman Catholic, although he was never baptized as such. After the war he was reunited with his father and moved back to Kraków. Roman Polanski's father married Wanda Zaj?czkowska, but Roman disliked his stepmother, which further estranged father and son, who had never been able to establish an intimate relationship. Ryszard Pola?ski died of cancer in 1984.

Polanski attended the National Film School in ?ód?, the third-largest city in Poland. In the 1950s Polanski took up acting, appearing in Andrzej Wajda's Pokolenie (A Generation, 1954) and in the same year in Silik Sternfeld's Zaczarowany rower (Enchanted Bicycle or Magical Bicycle). Polanski's directorial debut was also in 1955 with a short film Rower (Bicycle). Rower is a semi-autobiographical feature film, believed to be lost, which also starred Polanski. It refers to his real-life violent altercation with a notorious Kraków felon, Janusz Dziuba, who arranged to sell Polanski a bike, but instead beat him badly and stole his money. In real life the offender was arrested while fleeing after fracturing Polanski's skull, and executed for three murders, out of eight prior such assaults, which he had committed. Several other short films made during his study at ?ód? gained him considerable recognition, particularly Two Men and a Wardrobe (1958) and When Angels Fall (1959). He graduated in 1959.

Polanski's first feature-length film, Knife in the Water (1962), was also the first significant Polish film after WWII that did not have a war theme. Scripted by Jerzy Skolimowski, Jakub Goldberg and Polanski, Knife in the Water is about a wealthy, unhappily married couple who decide to take a mysterious hitchhiker with them on a weekend boating excursion. A dark and unsettling work, Polanski's debut feature subtly evinces a profound pessimism about human relationships with regard to the psychological dynamics and moral consequences of status envy and sexual jealousy. Knife in the Water was a major commercial success in the West and gave Polanski an international reputation. The film also earned its director his first Academy Award nomination (Best Foreign Language Film, 1963).

Despite his reputation as a major Polish filmmaker, Polanski left then-communist Poland and moved to France, where he had already made two notable short films in 1961: The Fat and the Lean and Mammals. While in France, Polanski contributed one segment ("La rivière de diamants") to the French-produced omnibus film, Les plus belles escroqueries du monde (English title: The Beautiful Swindlers) in 1964. However, Polanski found that in the early 1960s the French film industry was generally unwilling to support a rising filmmaker whom they viewed as a cultural Pole and not a Frenchman.

Gérard Brach collaborations

Polanski made three feature films in England, based on original scripts written by himself and Gérard Brach, a frequent collaborator. Repulsion (1965) is a psychological horror film focusing on a young Belgian woman named Carol (Catherine Deneuve), who is living in London with her older sister (Yvonne Furneaux). While working as a beautician's assistant at a salon, Carol is often disturbed by the physical decrepitude of her elderly clients, and throughout the course of the film, she becomes increasingly distressed by sexual advances from the men around her. Her sister departs for a holiday in Italy with a boyfriend, and Carol is left alone in their shared apartment flat. Carol's disordered mind finally breaks from reality as actual threats of domestic and sexual invasion blend into grotesque paranoid hallucinations, causing her to respond with desperate, deadly acts of violence. The film's themes, situations, visual motifs, and effects clearly reflect the influence of early surrealist cinema as well as horror movies of the 1950s — particularly Luis Buñuel's Un chien Andalou, Jean Cocteau's The Blood of a Poet, Henri-Georges Clouzot's Diabolique and Alfred Hitchcock's Psycho.

Cul-de-Sac (1966) is a bleak nihilist tragicomedy filmed on location in Northumberland. The general tone and the basic premise of the film owes a great deal to Samuel Beckett's Waiting for Godot, along with aspects of Harold Pinter's The Birthday Party. Indeed, the original title for the film was When Katelbach Comes (named after the actor André Katelbach, who played the role of the master in Polanski's very Beckettian 1961 short film The Fat and the Lean), and among the cast was Jack MacGowran, a veteran of Beckett's stage and television work. The film's setup concerns two gangsters, Dickie and Albie (Lionel Stander and MacGowran), who are on the run after a heist went wrong. The film opens with Dickie pushing their broken-down car along the tidal causeway of Lindisfarne island. It is implied that the shootout which occurred during the heist had left Albie bleeding and paralyzed, and Dickie, who is also wounded but still mobile, now seeks to contact their underworld boss, Katelbach. (Like Beckett's Godot, Katelbach is frequently alluded to throughout the course of the film, but never actually appears.) As he searches the island, Dickie discovers that the famous medieval castle is inhabited by an effeminate and neurotically excitable middle-aged Englishman named George (Donald Pleasence), and his adulterous, nymphomaniacal young French wife, Teresa (Françoise Dorléac, Catherine Deneuve's older sister). A series of absurd mishaps, both farcical and tragic, ensues when Dickie decides to take the couple hostage in their castle as he waits (in vain) for further instructions from the mysterious Katelbach.

The Fearless Vampire Killers (1967) is a parody of vampire films (particularly those made by Hammer Studios) which was filmed using elaborate sets built on sound stages in London with additional location photography in the Alps (particularly Urtijëi, an Italian ski resort in the Dolomites). The plot concerns a buffoonish professor named Abronsius (Jack MacGowran) and his clumsy assistant, Alfred (played by Polanski himself), who are traveling through Transylvania in search of vampires. The two of them arrive in a small village near a vampire-infested castle, which they plan to examine. While taking lodgings at the village tavern, Alfred falls in love with Sarah, the local innkeeper's daughter (played by Polanski's future wife, Sharon Tate). Shortly after, Sarah is abducted by the vampires and taken to the castle. The rest of the film concerns Abronsius and Alfred's madcap efforts to penetrate the castle walls and rescue the girl. The ironic and macabre ending is classic Polanski. The Fearless Vampire Killers was Polanski's first feature to be photographed in color with the use of Panavision lenses (the aspect ratio is 2.35:1). The film's striking visual style, with its snow-covered, fairy-tale landscapes, recalls the work of Soviet fantasy filmmakers Aleksandr Ptushko and Alexander Row. Similarly, the richly textured, moonlit-winter-blue color schemes of the village and the snowy valleys evoke the magical, kaleidoscopic paintings of the great Russian-Jewish artist Marc Chagall, who provides the namesake for the innkeeper in the film. The film is also notable in that it features Polanski's love of winter sports, particularly skiing. In this respect The Fearless Vampire Killers recalls Polanski's 1961 short film Mammals.

Polanski and Tate began a relationship during filming, and were married in London on 1968.

Move to United States

In Rosemary's Baby: A Retrospective, a featurette on the DVD release of the film, Polanski, Paramount Pictures executive Robert Evans, and production designer Richard Sylbert reminisce at length about the production. Evans recalled William Castle brought him the galley proofs of the novel Rosemary's Baby by Ira Levin and asked him to purchase the film rights even before Random House released the publication. The studio head recognized the commercial potential of the project and agreed with the stipulation that Castle, who had a reputation for low-budget horror films, could produce but not direct the film adaptation. Evans admired Polanski's European films and hoped he could convince him to make his American debut with Rosemary's Baby (1968). He knew Polanski was a ski buff who was anxious to make a film with the sport as its basis, so he sent him the script for Downhill Racer with the galleys for Rosemary. Polanski read the book non-stop through the night and called Evans the following morning to tell him he thought it was the more interesting project, and would like the opportunity to write as well as direct it. His first Hollywood film established his reputation as a major commercial filmmaker and both the novel and movie became commercial successes. A horror-thriller set in the trendy Manhattan apartment building "The Dakota", the story is about Rosemary Woodhouse (Mia Farrow), an innocent young housewife, originally from Omaha, who is impregnated by the devil after her narcissistic and ambitious actor husband, Guy (John Cassavetes), offers her womb to a coven of local satanists in exchange for stardom. Much of the film concerns Rosemary's suspicions and her increasingly successful attempts to uncover the truth of what is going on. Polanski's screenplay adaptation earned him a second Academy Award nomination. In April 1969, Polanski's friend and collaborator, the composer Krzysztof Komeda, died from head injuries sustained from a skiing accident, though other accounts of the cause of his death exist. After the short Two Men and a Wardrobe, Komeda went on to compose the score to all of Polanski's feature films (with the exception of Repulsion).

After making his next two films in Europe, Polanski returned to Hollywood in 1973 to direct Chinatown for Paramount Pictures with Robert Evans serving as producer. The film was nominated for a total of 11 Academy Awards; stars Jack Nicholson and Faye Dunaway both received Oscar nominations for their roles, and the script by Robert Towne won for Best Original Screenplay. Polanski appears in a cameo role as a hoodlum who slices Nicholson's nose with a knife in a failed attempt to scare him off the case.

Return to Europe

On 9 August 1969, while Polanski was working in London, Sharon Tate and four other people were murdered at the Polanskis' residence in Los Angeles. Polanski abandoned his project and did not resume working until the production of Shakespeare's The Tragedy of Macbeth (1971). Jon Finch and Francesca Annis appeared in the lead roles. He adapted Shakespeare's original text into a screenplay with the British theater critic Kenneth Tynan, and gained financing for the project through his friendship with Victor Lownes, who was an executive for Playboy magazine in London at the time. Polanski wanted to make the film in the play's actual historical setting of Scotland, but while scouting for locations there he could find no suitable sites that were still unmarked by telephone poles and other such modern installations. He eventually chose to shoot in an area of Britain which would provide him with a much more convincing medieval landscape complete with picturesque Norman castles: the rugged environs of Snowdonia National Park in Gwynedd, North Wales. The production took six months to complete and exceeded its initial budget by at least $500,000  mostly because of weather problems (it rained frequently during the location filming in Wales) as well as Polanski's insistence on shooting multiple takes of several technically challenging scenes in these adverse conditions. When the film finally premiered in December 1971, a number of critics were disturbed by its rampant violence as well as the overwhelming nightmarish atmosphere and unredeemed nihilism of Polanski's very modernist interpretation of Shakespeare (influenced by the writings of Polish drama critic and theoretician, Jan Kott). The violent and bloody nature of the film drew comment; film critic Pauline Kael wrote that the "corpses and murders ... so dominate the material that it's difficult to pay attention to the poetry." Polanski was reported to have responded to a comment during filming that the blood-letting was unrealistic, with "You didn't see my house in California last summer. I know about bleeding." In his autobiography Polanski wrote that he wanted to be true to the violent nature of the work, and that he had been aware that his first project following Tate's murder, would be subject to scrutiny and probable cricitism regardless of the subject matter; if he had made a comedy he would have been perceived as callous.

Written by Polanski and previous collaborator Gérard Brach, What? (1973) is a mordant absurdist comedy made in the spirit of Roger Vadim and Terry Southern and loosely based on the themes of Alice in Wonderland and Henry James. The film is a rambling shaggy dog story about the sexual indignities that befall Nancy (Sydne Rome), a winsome young American hippie hitchhiking through Europe. After escaping a farcical rape attempt in the back of a truck, she soon finds herself stranded in the hothouse atmosphere of a remote Italian villa inhabited by a band of decadent, lecherous grotesques...the main trio are played by Marcello Mastrioanni, Hugh Griffith and Polanski himself. What? is also significant in that it is Polanski's only film to date in which a character breaks the fourth wall. The film was a failure with audiences and critics, although in the years since its release What? has attracted a minor cult following and a modicum of critical notice.

After filming Chinatown in Los Angeles, Polanski returned to Paris for his next film, The Tenant (1976), which was based on a 1964 novel by Roland Topor, a French writer of Polish-Jewish origin. In addition to directing the film, Polanski also played the lead role of Trelkovsky, a timid Polish immigrant living in Paris who seems to be possessed by the personality of a young woman who committed suicide by jumping out of the window from her apartment...the very apartment that Trelkovsky now occupies. Many have noted the similarities with Repulsion and Rosemary's Baby, and together with these two earlier works, The Tenant can be seen as the third installment in a loose trilogy of films called the "Apartment Trilogy" that explore the themes of social alienation and psychic and emotional breakdown. For The Tenant, Ingmar Bergman's regular cinematographer, Sven Nykvist, served as cameraman, and actors such as Isabelle Adjani, Shelley Winters, Melvyn Douglas and Jo Van Fleet appeared in supporting roles. French composer Philippe Sarde scored The Tenant and two future Polanski films, Tess and Pirates. In his autobiography, Polanski wrote: "I had a great admiration for American institutions and regarded the United States as the only truly democratic country in the world."Unwilling to work in the United States after 1978 for fear of jail, Polanski continued to work in Europe. He dedicated his next film, Tess (1979), to the memory of his late wife, Sharon Tate. According to the director, after spending time with him in London in the summer of 1969, Tate left a copy of Thomas Hardy's Tess of the d'Urbervilles on Polanski's nightstand, along with a note suggesting that it would make a good film. Tess was Polanski's first film since his 1977 arrest in Los Angeles, and because of the American-British extradition treaty, Tess was shot in the north of France instead of Hardy's Dorset and Wiltshire; a replica of Stonehenge was constructed at Morienval for the final scene. Nastassja Kinski appeared in the title role opposite Peter Firth and Leigh Lawson. The film became the most expensive made in France up to that time, causing producer Claude Berri considerable anxiety when there was difficulty finding a North American distributor for the picture, which was nearly three hours long. Matters were also complicated when cinematographer Geoffrey Unsworth died in the middle of production and had to be replaced by Ghislain Cloquet. Tess was eventually released in North America by Columbia Pictures, which had also distributed Polanski's earlier Macbeth. Ultimately, Tess proved a financial success and was well-received by both critics and the public. For Tess, Polanski won French César Awards for Best Picture and Best Director and received his fourth Academy Award nomination (and his second nomination for Best Director). The film received three Oscars: best cinematography, best art direction and best costume design. In addition, Tess was nominated for best picture (Polanski's second film to be nominated) and best original score.

Nearly seven years passed before Polanski completed his next film, Pirates (1986), a lavish period piece starring Walter Matthau, which the director intended as an homage to the beloved Errol Flynn swashbucklers of his childhood. Pirates was followed by Frantic (1988), a suspenseful thriller starring Harrison Ford and the actress/model Emmanuelle Seigner. She would go on to star in two more of his films, Bitter Moon (1992) and The Ninth Gate (1999).

Later work and honours

In 1997, Polanski directed a stage version of his 1967 film The Fearless Vampire Killers, a musical, which debuted on 1997 in Vienna as Tanz der Vampire (Dance of the Vampires), the German title of the film version. After closing in Vienna, the show had successful runs in Stuttgart, Hamburg, Berlin, and Budapest. On 1998, Polanski was elected a member of the Académie des Beaux-Arts.In 2002, Polanski's production company, R.P. Productions, released The Pianist, an adaptation of the World War II autobiography of the same name by Polish-Jewish musician W?adys?aw Szpilman. Szpilman's experiences as a persecuted Jew in Poland during WWII were reminiscent of Polanski and his family. While the fates of Szpilman and Polanski were to escape incarceration in any of the concentration camps, their family members did not, eventually perishing while captive during the course of the war. In May 2002, the film won the Palme d'Or (Golden Palm) award at the Cannes Film Festival, as well as Césars for Best Film and Best Director, and later the 2002 Academy Award for Directing. Because he would have been arrested once in the United States, Polanski did not attend the Academy Awards ceremony in Hollywood. After the announcement of the Best Director Award, Polanski received a standing ovation from most of those present in the theater. He later received the Crystal Globe award for outstanding artistic contribution to world cinema at the Karlovy Vary International Film Festival in 2004.

Late in 2004, Polanski directed a new film adaptation of the Charles Dickens' novel Oliver Twist, based on Ronald Harwood's screenplay. The shooting location was located at the Barrandov Studios in Prague, Czech Republic and starred Barney Clark (as Oliver Twist), Harry Eden (as the Artful Dodger), Ben Kingsley (as Fagin) and Edward Hardwicke (as Mr. Brownlow). Polanski gathered a few previous collaborators from The Pianist...Ronald Harwood for the screenplay, Allan Starski as production designer and Pawel Edelman as director of photography. An attempt to adapt Robert Harris' Pompeii was abandoned in 2009.

In September 2009 Polanski was awarded a lifetime achievement "Golden Icon Award" by the Zurich Film Festival, which he was travelling to receive when he was arrested on .

Prior to his September 2009 arrest in Switzerland, Polanski was in production directing an adaptation of Harris' novel about a writer who stumbles upon a secret while ghosting the autobiography of a former British prime minister. The cast includes Ewan McGregor as the writer and Pierce Brosnan as prime minister Adam Lang. The Ghost Writer was co-produced as of February 2009 by Polanski's R.P Productions and Babelsberg Studios. The film was shot on locations in Germany. When his film premiered at the 60th Berlinale in February 2010, Polanski won a Silver Bear for Best Director. Unable to personally receive the prize, Polanski nevertheless mused, "Even if I could, I wouldn't, because the last time I went to a festival to get a prize I ended up in jail."

Relationships

Polanski's first wife, Barbara Lass (née Kwiatkowska), was a Polish actress who also starred in Polanski's 1959 When Angels Fall. The couple were married in 1959 and divorced in 1961.

Martin Ransohoff introduced Polanski and rising actress Sharon Tate shortly before filming The Fearless Vampire Killers, and during the production the two of them began dating. On 1968, Polanski married Sharon Tate in London. In his autobiography, Polanski described his brief time with Tate as the best years of his life. This marriage ended with the death of Tate in the Manson murders, leaving Polanski devastated.

In 1976, Polanski started a romantic relationship with Nastassja Kinski, when she was 15 years old and he was 43 years old. In 1979, their relationship ended at the completion of filming Polanski's Oscar-nominated Tess, in which Kinski had played the lead role.

In 1989, Polanski and Emmanuelle Seigner married. They have two children, daughter Morgane and son Elvis. Polanski and his children speak Polish at home.

Sharon Tate's murder