The+Piano

 Lucy Guo - Director's Project Analysis #5 

//For this assignment, think about some of the thematic, and stylistic motifs that you've seen in the four previous films by the director that you've watched. What do you notice in this film that fits in with this director's body of work?//

Firstly, the film starts off with the internal monologue of Ada, talking about the ‘problem’ that she has had since she was six. This fits with Jane Campion’s other films, because I’ve noticed that she likes to have internal monologues in her film that communicate about the problems that women face regarding their problems and how it affects their lives in society. This film is about the story of Ada getting sold into marriage, and how she faces this intrusion into her life. Similar to Campion’s other movies, this movie has themes dealing with the roles of women in society, and the focus on their independence, instead of what society expects from them. In this film, Ada was engaged to Alistair, but her mutual attraction to George ruined her relationship with Alistair. There’s the theme of wanting someone you shouldn’t want (and then acting on your urges), as usually seen in Campion’s films. This film also shows Ada as a really strong and independent woman, even though she cares extremely for her daughter. When someone does something she disapproves of, even though she doesn’t speak, she still manages to create hell wordlessly. Jane Campion also leaves many things ambiguous in this film. We never find out why she stopped talking when she was six, which is extremely important point. This film is set in a very native place, fulfilling Jane Campion's preference for native colors (browns, oranges, greens). Most shots in this movie had some sort of brown lighting set in, bringing out the contrast of Ada's piano.

// What are some of the most iconic director's choices that you've seen in any of the five films you've watched? What directors choices stood out the most to you? These examples don't necessarily need to be repeated in multiple films, but have helped define the director's image. Please list 2-3 examples for each film. This can be a bulleted list but should incorporate complete sentences and explanations of what the choices were and why they were so effective. Screenshots would be appropriate but not required. //

Strong independent women:
 * In the Cut: in my opinion, most of Jane Campion’s films show women as slightly apathetic towards everything unless it personally affects them, especially in a familial or romantic way. In this film, Frannie usually seems apathetic to the feelings of other people, especially if they aren’t reciprocated.
 * Bright Star: this film deals with Keats’ unability to realize that even though Fanny’s independent, it doesn’t mean she’s completely empathetic and has no needs.
 * Sweetie: even though

Ambiguity in films:
 * Sweetie: right before Dawn’s death, Dawn is shown struggling to say something to their father, and it frustrates me endlessly because I have no idea if she’s apologizing for her actions or not.
 * The Piano: as I mentioned earlier, it’s never shown why Ada stopped talking when she was six, and it’s also never mentioned why Baines decided to live with these locals and exclude himself from society.

Artistic/surreal quality of shots (and music):
 * In the Cut: when Frannie first sees Rodriguez in the bar bathroom, the shot and its music sounds extremely native (with deep bases, etc.) and the whole shot gives off a surreal and fuzzy feeling.
 * Bright Star: The argument between Keats, Brown, and Fanny is accompanied by a visually stunning shot of the forest, contrasting between hot and cold, good and bad.
 * The Portrait of a Lady: when Osmond confesses his love to Isabel, the shot is simply beautiful and the non-diegetic violin tune sets the suspenseful mood perfectly.
 * The Piano: the surreal look of shots of Ada’s piano glorifies her piano, making it seem like it’s the most important thing in the movie; especially with the music matched to the piano, it sounds completely unreal. There are also many different surreal-looking shots of the ocean and other natural environments on the island.

Women’s imaginations/fantasies for things they can’t have:
 * In the Cut: Frannie thinks/dreams a lot about interesting phrases she finds, as though she’s looking for something and she doesn’t know what it is yet.
 * The Portrait of a Lady: at the start of the movie, after Isabel rejects Caspar’s marriage proposal, she has a daydream about her and Caspar together - which happens again after Osmond charmingly asks for her hand in marriage, causing her to say yes.

Animations as problems/trance-like states:
 * Sweetie: when Kay goes into a trance, she has vivid flashes and some animations of her past, and the problems that she faces.
 * The Portrait of a Lady: Isabel has repeating dreams about Osmond saying, “What I wish to say is... I am absolutely in love with you...” which causes her to accept his marriage proposal. This scene also shows the shadow of the umbrella when Osmond is twirling it in circles, as though he’s creating an optical illusion, and then the idea of optical illusions are shown again in Isabel’s dreams (through Osmond's face while chanting the earlier phrase).