You can hear it in before-and-after recordings, in which one conductor beefed up the militaristic brass, and another found a conduit for psychic pain in the music's dissonances. You could argue that such changes have most to do with how we hear. I made a point of listening to the Szpilman discs (one from the independent label BCI Eclipse and the other from the German branch of Sony Classical) before and after seeing the film.
What I heard didn't change, but the film explained a few things.
Nearly identical in their selection of works, the two discs differ mainly in Sony's inclusion of a CD-ROM video feature of the aging Szpilman playing Chopin's Nocturne in C sharp minor in 1980. The dignity of the pianist's manner has infinitely more impact if you know that this is the piece he was playing when Polish Radio was destroyed by the Nazis and that he returned to five years later, after the Nazis had been destroyed.
Without asking for the slightest bit of sympathy, he was recreating a moment that was emblematic for his country and all Jewish survivors of World War II.
How could anybody emerge from five horrific years of hard labor and starvation in World War II Warsaw with such clean, crisp, emotionally unclouded renditions of Chopin?David Patrick Stearns Philadelphia Courier Sun, Mar.30, 2003 London - 3rd May 2000 - The judges of the annual Jewish Quarterly-Wingate Literary Prizes tonight awarded this year's Non Fiction Prize to Wladyslaw Szpilman for The Pianist (Phoenix / Golancz).In the end he survived for several months alone, perhaps the only person alive in the burnedout ruins of Warsaw, drinking water frozen in the bathtubs of empty flats and eating whatever he could find hidden in destroyed kitchens.Written in flat, almost emotionless prose, The Pianist evokes the strange mix of horror and elation Szpilman must have felt at that time.Then, effortlessly, he moves from the familiar to the horrific. I found out later - this isn't in the book - that he was looking for toothpaste, but no matter.