The Piano

How much must a woman sacrifice in order to be heard? The piano, a symbol of advanced society, gives Ada a privilege, thank to which she becomes, in the eyes of men, a woman from another, mysterious world, by which the traditional battle of the sexes is enriched with a no less determinative clash of cultures that has a slight whiff of anthropology. While Baines longs to have deeper knowledge of Ada’s world, her husband wants to control it, to colonise it. At the same time, the large musical instrument, which is dragged along like a burden, represents for the protagonist an opportunity to escape into her inner world. Thanks to Baines, she gradually discovers music outside of the realm of her own playing, though at the same time she is distancing herself from her daughter, whose loss would be a greater blow for her than being abandoned by her husband. Whatever she decides, happiness does not await her; at most there is only more pain and humiliation. Though the core of the film comprises a classic love triangle and Ada serves as a magnet for all suffering in accordance with the rules of melodrama, Jane Campion did not make a banal melodrama. Most obviously, her feministic bending of the genre’s rules (for example, she much more clearly demonstrates that a man treats a woman as property that he can trade as he pleases) is evinced by an unexpected evasive manoeuvre just before the end of the film. A strong statement about emancipation emerges – with considerable pain – from a love story about a woman, a man and a piano. When I think about the beautiful music and camera work along with the strong emotional experience and Holly Hunter’s acting, for which I have no words, the highest rating seems to be adequate. But in too many scenes, The Piano offers nothing but that music and nice images, and the director’s concept frequently takes precedence over credibility in the characters’ actions. In this respect, it is unreservedly melodramatic without being subversive. 80% (18.05.2018)

I went to the cinema out of sheer interest in the New Zealand scenery. I was also counting on the fact that a part of the movie is a romantic story. In the end, I got what I wanted plus a tragic tale. (13.06.2013)

Closing your eyes and enjoying Nyman's soundtrack for two hours is the only way to get through this cheesy wannabe art-house harlequin with the most insufferable brat in the history of cinema. (25.02.2010)

Perfectly acted, to the point where the heart races, with a music accompaniment that touches deeply, and as a whole, it is so beautiful and human that it hurts. (06.07.2006)

I like to make up hidden meanings. [SPOILER] She didn't get the metal finger, she didn't learn to talk, she wasn't happy with him. She just imagined, in one last gasp, what it could have been like. She was dreaming. But then she opened her eyes and saw the silent depths. She didn't think of it in a happy future. She just lived it and stayed connected to the piano. With it for the rest of her life. But unfortunately, the filmmakers probably intended it differently; then again, who knows? [END SPOILER] And most importantly, if you really want to enjoy the movie, watch those eyes of hers. The expressions, the twitches, the waves of emotion that wash over them. (27.02.2009)

The Piano is a highly acclaimed romantic drama that I have one major problem with - it doesn't work for me on an emotional level. I feel that the cast and the artistically crafted production only casually mask a rather mundane story. I don't sense the depth and meanings that many others find in it. I also don't find any functional chemistry between Holly Hunter and Harvey Keitel. In the end, my three stars are for the shots of the beautiful New Zealand landscape and its inhabitants. Overall impression: 50%. (08.07.2013)

There’s nothing more rewarding for a film fan than feeling internally fulfilled at the end of a movie and not regret the time spent during the screening, and that's exactly what I experienced with The Piano. It’s not a film that I would seek out repeatedly due to its slow pace and stagnant course (hence the 4*), but its emotions are incredibly human and apt, the actors excellent and the landscape as wild and passionate as the romantic soul with which everything is photographed and scored (hence the 4*). Hunter acts and looks terrific, Keitel has another rather confident role after Reservoir Dogs, and Jane Campion enjoys an early peak in her promising career. The Piano should not be missing in your “must see” list. 80% (18.02.2014)

Such a slightly different romance. A silent - only by her own will - woman moves to the other side of the globe to explore how love can also look like. Harvey Keitel, Holly Hunter, Anna Paquin, and of course, Sam Neill in absolutely brilliant roles that intensify the story, which is definitely not nice, but strong, yes. (07.03.2016)