(New Zealand 1993 120m) DVD1/2
My will has chosen life
p Jan Chapman d/w Jane Campion ph Stuart Dryburgh ed Veronika Jenet m Michael Nyman art Andrew MacAlpine cos Janet Patterson
Holly Hunter (Ada McGrath), Harvey Keitel (George Baines), Sam Neill (Alastair Stewart), Anna Paquin (Flora McGrath), Kerry Walker (Aunt Morag), Geneviève Lemon (Nessie), Tungla Baker (Hira), Ian Mune (Reverend),
David Thomson described it as “a great film in an age that has nearly forgotten such things.” I have to disagree. There have been more great films made in recent times than he might think, but one cannot argue with his calling this one great for it is truly a film for which the very adjective ‘great’ seems somehow insufficient. It is that most nearly extinct of cinematic beasts, a journey into the human soul. In that respect we really have been starved of such wondrous fare.
Ada McGrath arrives in 19th century New Zealand from Scotland with only her beloved piano and her nine year old daughter for company. Unable to speak since she was six, she can only speak in her mind and through her daughter’s interpretations of her sign language. However, her new husband Stewart refuses to allow her piano to be brought and, just as he had failed to learn the local Maori tongue and become an outcast, he refuses to understand her methods of communication. But when his neighbour, Baines, a seemingly uncouth man who has embraced the local customs, offers to trade the piano for lessons it leads her into a sexual and emotional bond that very nearly ends in tragedy for all concerned.
Campion’s poem of a film is about many things, in particular the power of the human spirit, challenged by foreign surroundings, the frustrations that come from lack of speech and true affection and the way one has to escape from reality into another world as a correction to the real one. That spirit is undoubtedly also in her daughter, whose imagination is also a marvel to behold, but Flora’s tale would be another story. This is about Ada and her will, and it’s a will as strong as the piano she lives for.
Some people have not responded to The Piano as well as others and I think that is down to not only the soul of the viewer as much their surroundings. This film is comfortable with the electric sound of silence, but many find silence tedious. Thomson has also called it Wordsworthian and, writing not fifteen miles from the Lakes poet’s home at Dove Cottage, I can truly relate to that statement. It’s not to say that the Lakes or any landscape in England can really compare to the majesty of Campion’s country, but it, too, offers natural beauty, inclement weather and the periodic silence of the world depicted here. This is not the silence of a desert, a barren silence. This silence cries out through the trees, like Hunter herself, dumb yet anything but quiet. Indeed, as befits such a film, much of its greatness lies in not only the landscape but its individual visuals. Think of Paquin’s cartwheel dance on the beach, the shot of the piano descending into the Stygian depths, the many shots of the trees surrounding their home. Add to this that most expressive of subjects, the faces of its protagonists. Holly Hunter’s performance here is nothing short of miraculous, her seemingly severe indomitability punctuated by occasional heartfelt smiles, with her soul straining to release itself through the dark pits that are her eyes. Lest we forget the others; Keitel, too, is superb as the tender Baines and young Paquin truly amazing (with faultless Scottish brogue) as the expressive Flora.
Even so, in spite of this and the gorgeous ‘magic hour’ photography of Stuart Dryburgh and immaculate period design, one cannot sign off without mentioning the contribution of Michael Nyman’s music. It’s one thing writing a score to correspond to the pulse and soul of a film, but to represent the soul of its protagonist, that truly is a miracle. And that is what Campion’s film is, a sexually tender odyssey (though not half as explicit as her In the Cut, which metamorphosised Meg Ryan) into the human spirit that moves like no other. The heart asks pleasure first, says Nyman, so let’s feed it.
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Though the music and performances instantly held me rapt…this is a film that I did not fully appreciate until years later. New Zealand never looked more gothic with all the wet woodsy scenes and the cold stark beaches. The cinematography coupled with Nyman’s score is breathtaking…I especially love the piano’s arrival on the beach…and of course its inevitable sinking.
Paquin’s current career arc is a matter for another discussion…but I knew instantly she was an actress who would one day mature into something truly special as a performer…though the raw unchecked emotion she displayed here has yet to be matched. From that very young age, she had a great knack for accents — though one could argue her later-day Louisiana tongue is a bit of a howler.
This was one of my honorable mentions for the decade…#34 seems a proper spot.
Hang in there David. You have Lee on the mound tonight.
Great comment as always. THE PIANO is one of my favorite films of the 90’s, and Ms. Campion is one of the greatest of the contemporary directors, male or female.
ALSO ON MY LIST. For me this film was only bested by SCHINDLER’S LIST in its year of release: 1993. That said, this film is like an erotic dream. The haunting landscapes (although real) look like something out of a Sendak illustration and the period details add to the story-book illusion. Mike Nyman’s score, I agree, is not onlt the voice of Ada but the soul of the film. Holly Hunter has done great work prior to and after this film but she was never able to match her superlative, Oscar-winning turn here. Like you, Allan, there are images in Campions fantasy that never leave my mind. The silver finger touching the keys at the end. The floating wonderment as Ada spins to the bottom of the sea. The flickering light cast on the audiences faces as they watch the production of BLUEBEARD. Ada playing the piano on the shore as the tide rolls in. This is a sumptuously beautiful film that, I’ll admit it, reduced me to tears, with its feeling and visual design. In my mind, its still Campions masterpiece.
DAVID SCLEICHER-Agreed! Anna Paquins talent WAS immediately recognized by myself and everyone taken by THE PIANO. Some huffed at her Oscar win at the ripe old age of 10 years old. However, and Sam and I have positively debated this for years, these two performances are symbiotic. One CANNOT survive without the other and both must be perfect to play off each other. A child actress of lesser talent would have collapsed the structure of Hunters performance if she was anything less than a perfect match. But what’s really amazing is that while Paquin is able to act as Hunter’s voice, she is also able to be a precocius child as well. In essence Paquin is playing both interpreter and child victim at the same time. No other supporting actress even came close to Paquin in 1993. She was THAT good!
Dennis – absolutely! She was more than deserving.
ALLAN-you need to correct the date of release at the top of the review. You accidentally listed this films release year as 2003. In fact, the film was released in 1993. I’ll get you a band-aid for the Boo-Boo.
God, touché, Dennis. It’s my main failing with 90s and 00s films, I often subconsciously change the date by 10 years. I had Up down on a piece of paper as 1999 the other day. Doh!
Fine review! This is by far my favorite of Campion’s films. It’s the bravest. Her silences are so rich–most of all in mute Ada, but just as much in Keitel’s complex character. His tattooed homesteader has gone “back to the bush,” and has Maori mistresses, and is rude and crude and lustful, but we also see that his perceptions of Ada are tender and even delicate. He doesn’t wear his heart on his sleeve, but he’s got one. He sees Ada’s joy as she plays her piano on the beach, he slowly walks around the huge flourish of seashells Flora’s created, and he understands more about this woman and girl than the poor husband would in a lifetime. As the story progresses we see that this coarse man has fallen in love as completely as though he’d fallen down a well–stupidly maybe, but gloriously as well, without self-protection. I love how much Keitel indicates just by the simple act of sitting beside Ada (a social faux pas) at the concert, blindly needing to be close to her;and I think we have to salute the bravery of short, stocky Keitel in his willingness to bare all during the climactic romantic scene. The guy may be built like a fireplug, but he can summon up huge romantic wattage!
Margaret, wonderful comment as always and much appreciated. Have you seen her newest film, BRIGHT STAR yet? At this point with only a bit under three months left, I dare say it is probably the best film I have seen this year!!!
Margaret, I always look forward to your capsule comments. They have the eloquence, perception and passion of a Pauline Keal – without her cutting bitchyness as if she was out settling scores. You should write a book!
Probably the foremost classic of the 90s I HAVEN’T seen yet. I’ve added it to that “must see before I compose my canon” Netflix queue, as I’m still mired (in a good way) in the 80s on the Wonders queue so it might be a while before I would go to it on that. (All those miniseries tend to bog things down…quite enjoyed The Singing Detective, though!)
And I think this may be one of your best pieces. The analogy between the dumb-but-not-silent protagonist and the natural forces around her is very insightful. I’ll probably be seeing this movie (finally) in the next few months.
MOVIEMAN!!!! For Shame.. One of the undisputed masterworks of the decade and, easily, Jane Campion’s best work. It takes over the viewer like sleep on a beautiful afternoon without a care in the world and a free admission ticket to dream. Although the film take place in a real time and place it still transporyts you someplace other-worldly. I must admit, that the visuals and sounds of this film are unlike anything I have ever seen put to film and, when in moments of silence only allowing movement and Nymans score to do the work, the film goes from magical to down-right poetic. The shot of Ada and Flora being carried to shore as the violence of the ocean crash around is, as I said earlier, something straight out of Sendak. This is a hauntingly beautiful film. Make this FIRST on your NETFLIX list aqnd get to it. Sam and I will be conducting a PIANO 101 test on you..
Take your time, MovieMan, if films require 101 tests then Sam has well over a 100 overdue and Dennis probably at least double that.
As always seeing over 170 films theatrically during the year, attending over 40 theatrical productions and maybe 35 opera and classical concerts results in the usual castigation for not sitting in my house in front of a television screen. There is very little I haven’t seen, period.
LOL! LOL! LOL!
This is how it goes. That he watches loads outside is not in question. It’s the being asked to send stuff years ago that he wanted to watch instantly, only to find he still hasn’t watched it. It’s time and effort wasted.
I just counted up and there’s over 100 entries in my book he hasn’t seen, and well over half of them have been in his basement so long they now have their own eco system attached. What annoys me is the constant machinations to get stuff sent over, which takes hours of time which I never mind when it’s not in vain, and promises to watch which are about as sincere as politicians promises to help the environment.
That’s why there are many other rare masterpieces sat here uncopied that I won’t forward on because it’s an utter waste of time. If it’s the same old rant, it’s because it’s as true as ever. I think the quote in a 1965 film I needn’t name was…
“You’re good, Kid. But as long as I’m around, you’ll always be second best!”
Look Allan, THIS IS NOT THE TIME TO START UP THIS NONSENSE. I have far greater issues to come to terms with right now. Please do me a favor: DO NOT SEND ME ANYTHING MORE! I frankly am not interested. I did watch over 350 items that you sent over four years, either sent by you on tape or DVD or bought by me outright. But those 350 films and/or television series don’t count, only the “100” that you claim I did not watch. The fact that I watched what I did while siumultaneously holding a full-time job, running a blog site, blogging and seeing tons of films, plays and concerts on the outside, while trying to engage five kids and attending four different baseball and soccer schedules while serving as an active trustee on the Fairview Library Board is something for the record books. As far as the time and effort, let’s say I did the same for you and then some in the first two years, and still send things on to you. I do not and will not ask what you’ve seen, as I consider that to be your business and your business alone. You look at things from inside a prism. If you saw and heard as much as I did on the outside you wouldn’t have 1/10 the time you do to stay homebound and watch much, of that you can be certain. It’s really one or the other. Both isn’t possible, especially when you have what’s on my plate. Still, almost miraculously I do see stuff in the house in spurts all year round.
Sam, this is not my discussion but I must say your soccer attendance AND Library Board positions are quite fantastic. Soccer is a favorite sport of mine (I’ve played since I was 7 or so) when I hear Americans (and there children) involved in the game I get tickled pink. That’s fantastic news.
And being part of a library board? Fantastic, to be surrounded by books. Ahhhhh…
Thanks Jamie on what you say there about the Library Board. The Fairview Library link is actually on our blog roll. We kind of have a small library, which can’t compare to those in larger towns, so I don’t really make use of the limited resources. I just was in the Strand bookstore in NYC Saturday night before seeing PRECIOUS at the Union Square (I’m, sure David S. knows it well) and I almost misse dthe beginning of the movie, as I just didn’t want to leave that place. Thousands of used movie and music an dhistory books. Was in seventh heaven there!
Guys take it easy on MovieMan, as I bow my head it similar shame. I am a large admirer of Campion’s work (viewing her entry on imdb.com I realize I’ve seen every film she’s done but 2) and yet her most famous ‘the Piano’ is one I haven’t. I have added it to my netflix, and should receive it by Thursday. I’ve always wanted to see it, yet as usual it’s a WitD kick in the pants that finally is going to make it happen. If this blog every needs a subtitle it should be that: ‘A cinematic kick in the pants’. Even more strange is that I also consider Holly Hunter to be one of my favorite current actresses.
As such I can’t wait to see it, and I will return once I’ve viewed it.
What are the opinions of Campion’s other films? I really like ‘Sweetie’, ‘An Angel at My Table’, and ‘In the Cut’. I really liked ‘Bright Star’ (I would like to see it again though), and I think I should also view ‘Holy Smoke’ again. Not sure I could pick a favorite, but if I had to it would be ‘Sweetie’ or ‘In the Cut’, this may change after ‘The Piano’ of course.
JAMIE-i love her films too. SWEETIE is a terrific film and I adore ANGEL AT MY TABLE. While some condemned her PORTRAIT OF A LADY, I happened to find it fascinating and expertly made. BUT…. THE PIANO is her masterpiece and is so high above her other films as not to be recognized from such a grand altitude. Simply, you’ll never see or experience anything quite like it.
Ah “The Piano”. I remember seeing this film with Sam and hating every minute. I am sure Allan would love to hear the short review I gave it… “The movie would have been better if the piano landed on and killed Holly Hunter in the opening scene. ” I am sure I will take some abuse from the stalwarts at this site but what the heck…
Saw this yesterday as well.
Absolutely terrific.
I was mesmerized by everything instantly, the acting, script, photography, direction, ect. Heck I even liked the titles, which were strangely very reminiscent of 90s cutting edge design (I’m thinking color choice and typeface, and placement within the frame), yet the film is a period piece–but they worked. This really impressed me as usually period films go for stock graphic sensibilities, so to the designer there I say bravo.
I kept thinking about the similarities in story structure to ‘Days of Heaven’, but this seemed to strike for a little more and was therefore slightly more complex.
Perhaps now almost 24 hours since the few I have the two monologues in my head that bookend the film: To open: “The voice you hear is not my speaking voice – -but my mind’s voice. I have not spoken since I was six years old. No one knows why – -not even me. My father says it is a dark talent, and the day I take it into my head to stop breathing will be my last. Today he married me to a man I have not yet met. Soon my daughter and I shall join him in his own country. My husband writes that my muteness does not bother him – and hark this! He says, “God loves dumb creatures, so why not I?” ‘Twere good he had God’s patience, for silence affects everyone in the end. The strange thing is, I don’t think myself silent. That is because of my piano. I shall miss it on the journey.”
Then to end: “What a death! What a chance! What a surprise! My will has chosen life! Still it has had me spooked and many others besides!”
Wow.
For someone (Angelo, I apologize as you are a complete stranger) to say “The movie would have been better if the piano landed on and killed Holly Hunter in the opening scene.”, to me is the highest degree of idiocy.
Jamie — I love your perspective on this. When I watched this a second time (some twelve years or so after the fist time) it was like watching a new film…my eyes were open to so much more. You are great to point out the monologue bookending the film…so much is discussed about the performances and the music (and rightfully so) it’s easy to overlook the writing. Campion (like Hunter and Paquin for their portrayals) was more than deserving of her screenwriting Oscar.
Agreed about the screenwriting. To bad the Region 1 dvd I watched had no subtitles, so often I wanted to watch, then rewatch AND read as if it was a novel. But I couldn’t.
I see there is a two disc Region 2 out there that seems to be a better edition. I assume that has subtitles, I’ll have to look into it though.
Great comments here by David and Jamie!
Jamie, sad to say I never checked out the Region 2, as I have alway sowned the Region 1, but I’ll have to ask Allan about that release tomorrow.