With its breathtaking visual style and careful attention to sound and movement, the movie provokes contemplation about the ways people communicate – through words, through music, through sex, and, most significantly, through touch. [14 Dec 1993, p.A14(E)]
The Piano is depressing, and probably the most depressing one from any movie with this type of story, Holly Hunter performance in The Piano can be a great example, a great example that even without any dialogue she can still be so good, how? , expression, and Hunter really played that brilliantly, Keitel, Paquin, and Neill was so powerful too, The Piano is amazing.
Jane Campion's The Piano feels like a adaption from a novel (itsn't) and it's very sensual in a singular way. The story could have been simple, but in Jane Campion's hands it transforms into a interessing tale about a woman's desires and passions. The setting is really unique, the visuals beautiful and subtle and the cast it's perfect.
In Jan Campion's The Piano, the emotions are deep, fierce, primordial. Sexuality overwhelms the film's characters like ocean waves blasting against a cliffside. [19 Nov 1993]
Campion's script is very well received, but the film finally makes it on cinematics: bleakly beautiful photography, haunting score, and good acting. [12 Nov 1993]
"Sweetie" and "An Angel at My Table" have taught us to expect startling as well as beautiful things from Jane Campion, and this assured and provocative third feature offers yet another lush parable--albeit a bit more calculated and commercially minded--about the perils and paradoxes of female self-expression.
An overwrought, hollowly symbolic glob of glutinous nonsense... I haven't seen a sillier film about a woman and a piano since John Huston's "The Unforgiven" (1960), a Western in which Lillian Gish had her piano carried out into the front yard so she could play Mozart to pacify attacking Indians. [13 Dec 1993]
just excellent, i loved it, now i know it is my favorite movie: including actors, designers, musicians and producers, the director Jane Campion too. Michael Nyman is one of the must recognized composers of the world.
Just didn't get all the way there with this. Definitely featured one of the best child performances ever. The dynamics and love triangle were a little messy and confusing.
Jane Campion likes the grotesque. In most of her movies some characters are always distinctively weird in looks and behavior. The Piano is no exception. Main character Ada, played ferociously by Holly Hunter, is a bit of freak. Stubborn and self-contained she “decided” to remain silent from age six and never spoke a word since. Her inconsistent behavior creates all sorts of trouble to those around her, inclusive of unloved "husband" Alisdair, obnoxious daughter Flora and reluctant lover George.
Some beautiful landscapes and hunting music hardly make up for the fact that most of the movie is shot in claustrophobic and dark rain forest and three out of four main characters are creepily weird.
Obviously I didnt like this movie, it is not only slow, but also the characters are boring, especially Ada, I didnt like her at all. Only Harvey Keitel was convincing. The music was nice.
Film se déroulant au 19ème siècle qui suit une névropathe mutique et cul serré qui part chez les Papous à l'autre bout du monde -à moins que ce ne soit chez les All Blacks me souffle-t-on- pour se marier à un colon anglais déjà sur place.
Elle fait chier tout le monde avec son gros piano parce qu'à l'époque, trimbaler un piano, je te raconte pas, ça fait bien chier quand même, y compris dans la barque ou dans la jungle. Mais elle ne peut se libérer de son TOC, alors éventuellement elle conclut un "arrangement" avec l'un des indigènes joué par la brute Harvey Keitel, premier demi de mêlée. Et pendant ce temps, son mari très officiel joué par le sympathique Sam Neill se la met sous le bras.
Holly Hunter est une actrice estimable mais je ne pensais certes pas qu'elle était aussi bien gaulée que ça, aussi est-ce une heureuse surprise qu'elle montre un peu son petit cul ici même si ça reste hélas bien trop rare durant les deux plombes que dure cette grosse merde intello échappée de l'asile du festival de Cannes. Deux heures qui en paraissent au moins dix -moins 5 minutes de fesses- au vu du scénario qui branlotte du vide et bien sûr de la mise en scène de limace fatiguée.
Je suppose que ce suppositoire de deux heures a dû recevoir une palme ou moult prix ou au moins une récompense Télérama, car côté prétention et courant d'air, la Jane Campion a l'air de s'y connaître. Putain, quelle purge !