·Analysis of the stage plot in "Piano Lesson" 1. The female prisoner interprets the film "Piano Lesson" from a feminist perspective, and it is not difficult to find three important symbols in Ada's image: "being married to a foreign land" undoubtedly symbolizes women's "wandering and being dominated"; "suffering from language Obstacles” refers to the state of women’s “lost voice” and women’s “deprivation of the right to speak”; as the daughter of a Scottish manor in the 19th century, Ida had a black dress and black hat, straight hair, and neatly combed hair. , the serious and persistent demeanor, and the later episodes of being imprisoned in a dark room by her husband Stuart, and finally cut off by her husband, all reflect the state of women's "imprisonment". In addition, the attitude of the two groups of maids and indigenous people towards Ida is also worthy of attention. In the following argument we will see that the setting of the group characters of the maid and the natives contrasts sharply with Ida's isolation and frailty. As an individual, Ida is surrounded by these two groups, watched, talked about, and desecrated. , the impossibility of verbal communication, undoubtedly deepens the degree of isolation between Ada and the group, and deepens the impossibility of reconciliation. From this perspective, Ada was imprisoned by them. Imprisoned by the language he couldn't speak, imprisoned by the words of the outside world, imprisoned by the stereotyped demands against women at the time, locked up by her husband Stuart in a room with wooden boards, and exchanged pianos by Baynes with unreasonable demands. The siege of the exchange... Based on these states of being imprisoned by tangible or intangible things, we can call Ada a "female prisoner" for the time being. two. Overview: Inside and outside the play, on and off the stage, Camus said in "The Myth of Sisyphus": "The separation of man from his life, the separation of an actor from his stage background, is what is called a sense of absurdity." The main story of the film is Ada We can call it "the truth of the film"; however, the film also sets up a sub-line, which develops and echoes with the main line almost at the same time - that is, a rehearsal and performance by the maids and Flora and other children. stage play. In the film, the pre-rehearsal echoes of the stage play hint at the development of the main story; what the stage play is staged and ended in a farce reflects precisely the "divorce of the actor and his stage background" - a kind of life and the stage, people and actors , the absurd state in which the audience and the actors are intertwined; after the stage play ends, elements such as wings, props and children’s songs still remain in the main story, and these elements may become a symbol, or become a sign suggesting the conflict of characters and the change of inner state. 3. The planning and rehearsal of the rehearsal stage play are basically presided over by a group of white maids from Stewart, so we must start with the group of maids. The maids appearing in the film are divided into two categories: the first is Ada, who appears at the beginning of the film The white maid in the Scottish home: At night, Ada was playing the piano in the room, the camera turned from the keys to the window, and the shadow of a moving figure outside the window gradually enlarged, and finally stopped by the door and looked in, it turned out to be the white maid in the house, full of eyes Looking at Ada with worry and dissatisfaction, at this time, the camera gave Ada a close-up - Ada found the maid, her eyes were stunned, and the piano sound stopped abruptly. Next is the group of white maids in the New Zealand husband Stewart's house: trying on Ada's wedding dress and playing, telling Stewart about Ada's strange behavior of tearing the wedding dress and wiping her feet with the wedding dress, the head maid talking about Ada during peeing The sound of the piano is "creepy". It can be seen that, whether in Scotland or in a foreign land in New Zealand, Ada is in a lonely state of being stared at and discussed, and Ada is imprisoned by the eyes and words of the maids. 1. Ada's past Ada's daughter Flora's in-depth exchange with The Handmaid 1 took place when Ada and Stuart were taking their wedding photos on a rainy day. This is an interesting episode. On the one hand, Ida was watched and filmed under the rainstorm: the film deliberately gave a close-up of Ida’s eyes peeping (or examining) through the camera hole. The washing of the rainstorm actually symbolized the loss of Ida’s dignity. , a state of being manipulated. Ada, on the other hand, is talked about and evaluated in the house: the youngest daughter Flora weaves a version of her mother's past, which is in fact just a beautiful fantasy of the little girl, because of her narration about her mother being hoarse by thunder It is contradictory to the content of Ada's self-reported aphasia at the age of six at the beginning of the film. However, when this story was conveyed to Maid 1, Maid 1 expressed great shock and sympathy, and seemed to have compassion for Ada's mental damage... ...these Adas have no chance to argue - people wouldn't even ask a dumb woman to confirm the veracity of her story. The plot in the house actually paved the way for her husband, Stuart, to see Ada playing the piano carved on the table and suspect that Ada had a mental problem-Stuart did not ask Ada for confirmation in person, but whispered this suspicion to the maid 1 , Maid 1 and Maid 2 told Stuart about Ada's rude behavior towards the wedding dress, and implied that Stuart: "Pets can also cultivate feelings, and pets can't speak", which is to compare Ada to pets. Combining the appeal plot, we can summarize the treatment of Ada as a mute woman: being watched, scrutinized, guessed, given a mysterious color, and naturally regarded as a person with a mental abnormality, and this is only because she cannot speak. The sad part of the dumb girl Ada is not only that her aphasia deprives her of the opportunity to justify and correct her name, but also that Ada's aphasia consciously or unintentionally refuses to communicate directly with her. Others tend to hide from her, and will not take the initiative to confirm a thing to her, so there is a lack of direct spiritual communication between Ada and others. Ada is not deaf, and she can write, as long as others have enough patience, they can communicate with her, and others just rarely have such patience, "God loves dumb things" - they are accustomed to regard Ada as a Individuals who are "abnormal", "should be overprotected", "like pets who can't express themselves", are accustomed to go over Ada and talk to others about her and suspect her. From this perspective, Ada is a "Protected" is, at the same time, an individual who is seen, discussed, damaged, and imprisoned. 2. Ada's point of view video (time) gives a dialogue between a maid wearing a costume for Flora: The maids learn sign language from Flora. Maid 1: "I can't think of anything scarier than being mute." Maid 2 (Mary): "Deaf." Maid 1 seconded. Flora: "Actually, Mum said most people were talking nonsense and they weren't worth listening to." Learning sign language from Flora implied that the maids had actually taken the initiative to walk in and get to know Ada. The desire of the world, however, as we will see later in the analysis, the maids eventually gave up this attempt. "What's more terrible than being dumb is being deaf", which points out a very important theme of the film - "listening". Deaf people cannot "hear", so many people who are born deaf are also unable to express their "dumb" in words; "dumb" can hear, so people with aphasia can have their own inner voice and have the opportunity to use other means Express your inner voice - this is why "deafness is worse than dumb". However, it is absurd that in the face of the dumb girl Ada, many normal and healthy people have become "deaf", they can't "hear", or they just listen to the words expressed, and can't "hear" anymore Others - this is essentially the same as the mentally challenged patient who "sees the trees but not the forest" or the blind man who touches an elephant. From this perspective, it may be able to explain Ada's "derailment". Ada is well educated, solemn and neat. Baines lives in a cramped and dimly lit cabin on the mountain. When Ada knocks on the door for the first time, the film shows a half-length back of Baines as he goes to open the door. The bottom of his white trousers is dirty; Enns asks Ada to pull up her skirt, and the film gives a close-up of Baines stroking the snow-white skin under Ada's ripped trousers with his black-stained fingers. Apparently, in stark contrast to Ada, Baines is an "illiterate rough man". Baines could speak but not write, and Ada could write but not speak, as if the two modes of communication were completely cut off. Yet Baines' "listening" abruptly bridges the fractured exchange. It was Baynes who listened to Ada playing the piano on the beach until the evening, and it was Baynes who bought Ada's piano with more than ten acres of land but "just wanted to hear you play", and it was Baynes who encouraged Ada to "whisper" during sex Baines, it was Baines who said "your wife needs it" to the confused and panicked Stewart when returning the piano; from beginning to end, only Baines repeatedly asked Ada "why" - when owning a piano The Ada revisits the wooden house, when Ada expresses her love, and when Ada expresses that she wants to push the piano into the sea. Baynes is watching Ada's needs, not just Ada's sound Or in the eyes, more in the observation of other people such as Stewart. In the scene where Stewart confided his suspicions about Ada's mental state to the maid, the scene was actually divided into two parts, light and dark. The bright part that the audience could easily notice, that is, the scene of Stewart and the maid sitting next to each other, and it was easy to ignore the dark part. Where - Baines, who was wearing a hat, was drinking coffee alone at another table. After hearing the talk of the maids, he looked back in the direction of Stewart. He did not speak. Baines lived in the dark, not making noise with words, but listening and thinking with observation. Even in the seemingly perverted deal between Baynes and Ada to redeem the piano, his direct inquiry communication with Ada was reached. In contrast to Stewart and Baines's deal on the piano, whether it was exchanging the piano for land or setting Ada's piano lessons, Stewart never asked Ada's opinion from beginning to end. He was giving orders, not negotiating. Stewart's response was to slap the table when Ada angrily stressed "the piano is mine" , refutes Ada on the grounds that the family must make sacrifices. In fact, Stewart is getting the deal from beginning to end, and Ada is being forced to sacrifice. In Stewart's consciousness, Ada was his wife, and the piano was Ada's, so the piano was his. It is not difficult to think of the plot of Cabot's emphasis on "mine" to his wife Abby in O'Neill's play "Desire Under the Elm". Self-evident ownership of women - this is a strong patriarchal way of thinking that leads to deafness in men, and also causes these deaf men to judge women as deaf: Stewart's lack of listening to Ada also believes that Ada lacked listening to him. After discovering the keys Ada was giving to Baynes, an angry Stuart rushed home, tugging and shaking Ada and yelling, "Why? I believed in you! I believed in you! Did you hear? Why? I hurt you!" In fact, at the time of the story, and generally speaking, Stewart was polite and gentle to Ada, but it was not entirely his fault. When Ada was decided by her father to marry Stewart, who had never met, the seeds of tragedy It was buried: two people who cannot listen and communicate with each other lack the necessary conditions to love each other, and their family will not last long after all. Going back to Ada's point of view on language - "Most people say nonsense, they are not worth listening to." In fact, it is difficult to determine the causal logic: it is because Ada is aphasia, so she Formed this opinion to justify her own misfortune, or because Ada formed this opinion in advance, so that after her aphasia she would not go into depression, but naturally use the piano as her language. Just like the controversial transaction between Baynes and Ada in the film, it is hard to say whether Ada subconsciously had a favorable impression of Baynes, so he rationalized and accepted Baynes' "perverted" request. ; Or it was because of the transaction with Baynes that Baynes' raw power and erotic passion inspired the liberation of Ada's love, who had been imprisoned for a long time, but only when Baynes sent the piano Ada dared to face this love when it was returned to Ada. From love to lust, or from lust to love, there is no rational or unreasonable, right or wrong. After all, people need to communicate with each other. There can be no words, but they must be expressed through a certain medium. Ada and Stewart are too similar in their attitudes towards relationships - careful and prudent, overly polite and unfamiliar, plus Stewart doesn't listen to Ada's voice and doesn't understand what the piano means to Ada, so there is no other than words between them. The medium of communication (and the words are so weak and thin), two closed islands can hardly produce love after all; and Baines Not only did he take the initiative to "listen" (even though the motive for "listening" may be impure thoughts triggered by carnal desires), the original fiery sense of life and the unstoppable desire for sex and love exuded from him, It's the exact opposite of Ada's indifference. Baynes broke the shell of Ada's confinement ego not only through words, but also through body language, which is why they had such a powerful impact on Ada. To a certain extent, after the piano was returned, Ada's visit and show of love to Baines were also her self-discovery, self-recognition, self-relief and self-liberation. 3. In the 40th minute of the hand-cutting film, there is a relatively direct scene transition: Baines supports Ada from behind and kisses Ada's neck suddenly, Ada's piano sound is interrupted; outside the house is Flora holding a puppy Talking to himself, accompanied by the sound of the piano. In most "Piano Lessons" where the piano sound appears, the sound of the piano continues when the camera cuts from the sound source sound to the non-sound source sound, thus connecting the different scenes before and after playing (using the piano sound as the sound source) Bridge), this shot is different: the sound and picture are synchronized to the scene where the maids and short men in the Stewart family conceive and demonstrate the stage play.
Male: "Okay, Mary, come here." Mary: "Okay, come here." Male: "Put your hand here, now—" (The man slashes with a prop and axe, and Lieutenant Mary is frightened and moves his hand forward. Withdraw.) "—no no no, hands out, here, now—" (Swinging the axe again, Mary and the other maids saw that the short man was trying to make the wall appear realistic with the axe slashing hands through his misplaced movements. Shadow, they all laughed.) Male: "See? It will be more realistic when you sprinkle some blood."
Apparently this was designed and rehearsed for the stage play Flora was going to be in. The stage performance "Husband Cuts Wife's Hand With An Axe" turned out to be a rehearsal and preview of Ada being cut off by her husband Stuart with a real axe. Blood splattered on Flora's cheeks and placket. The film "Life is like a play, play is like life" made an absurd and serious joke here. 4. The performance The stage was presented nearly an hour after the film began - the performance was finally about to be staged. Let's recap this scene before, middle and after: Baines pulls Ada's shirt and offers Ada 5 keys in exchange for lying with Ada, afterward Ada gets up with tears in her eyes . Ada braids Flora as she prepares to take the stage, and Flora sings: "In May, angels sing sweet songs, and a young man lies waiting to die, for the love of Barbara Allen..." ... Baines entered the theater, and Mary the maid told him "I'm in the dressing room." Baines saw that Ada and her husband were seated, and ignored Maid 1's words, and moved to sit on the left side of Ada, one seat away from Ada. The companion teased and asked about Baines' piano study. Stewart invited Baines to sit closer. Ada stopped Baines with his left hand and gave him a warning eye. Baines looked solemn and sad. The curtain is drawn. The children played the little angels and sang: "In May, the angels sang a beautiful song, and a young man lay waiting for his death, for the love of Barbara Allen..." Close-up of the face, following Baines's gaze, the camera moves to Stewart holding Ada's right hand. The song sang "When they came to the lock of true love...", Baines lowered his eyes, turned and left his seat and walked out of the theater. Ada smiled. When the woman played by Mary saw her husband come back, she hurriedly blew out the candle and saw her husband with the key. Because she knew his secret, the husband raised the axe and was about to chop the woman, and the woman panicked. As an audience, the local indigenous man thought that what was on the stage was what was really happening, so he rushed to the stage with a gun and tore the curtain. The stage was in chaos and the performance was interrupted. ... The scene switches to Baines's wooden house: Baines sits in the corner sadly and bows his head to Ada and says, "Do what you like, play what you like"...... Ada looks at the bed and sees Beibei in horror. Enns is naked. Baines makes a request to undress and lie in bed with Ada. 1. Song "In May, the angel sang a beautiful song, and a young man lay down waiting for his death, for the love of Barbara Allen..." This is a children's song that the little girl has been humming before and after the performance. The melody is soothing and melodious. Cheerful and innocent. And when we see the camera switch from the stage to Baines's wooden house, it is not difficult to imagine what the lyrics "a young man is lying and waiting for his death, for the love of Barbara Allen" is sung in secret. "Laying" and "waiting" in the film belong to Baines. In the 43rd minute of the film, Baines in the dark cabin is lying on the bed, lifting the curtain and staring at the quiet piano illuminated by the light outside the window, accompanied by a sound montage - Ada's piano sound, suggesting that Baines's uncontrollable yearning , endless imagination and erotic lust, followed by a rather shocking scene: Baines walked to the piano, stripped naked, walked around naked and stroked and wiped the piano. Through this slightly perverted way, Baines released his lust and feelings, and replaced Ada with a piano. The repeated wiping action not only showed Baines' inner desire, but also reflected the cleanliness of Ada in Baines's mind. tall image. The body represents fiery sex, while the piano is a musical instrument that brings spiritual enjoyment to the civilized world. The picture of naked wiping the piano undoubtedly forms a strong contrast between primitiveness and civilization, filth and cleanliness, passion and restraint, body and spirit. Enns will imagine a curvilinear way of monetization. In this scene, the non-sound source sound of the piano is stopped, and replaced by the sound source sound of Baynes wiping the piano. This way of handling undoubtedly brings the audience to review and reflect: Look - Baynes is in the real In the world of eccentric people, they satisfy their imaginations in grotesque ways; see – trapped by love or desire, who can guarantee the adherence to the "gentleman's prudence and independence"? Absurd - In the end, facing Ada, Baines couldn't hold back any longer. He stood in front of Ada naked and said, "I want to lie down with you naked. How many key exchanges will it take?" Between the erotic scenes of Baines and Ada, Flora outside the house has been humming the children's song about angels and love. Ada took the initiative to visit Baines' wooden house, but Baines was lying on the bed with his back to the door. After Baines got up and sat down, he said to Ada, "...Ada, I'm not happy because I only miss you and can't do anything... I have lovesickness, I can't eat well, I can't sleep well, if If you don't come with any emotion, just go, let's go." It is not difficult to think of the lovesickness portrayal in the Book of Songs, "If you can't ask for it, you will be obsessed with it. Acacia through the ages, might as well be. However, Baines finally tossed and turned, and realized that love is not only about physical touch and possession, nor is it about unilateral heat. Love; love is the communication between the two parties and the mutual care in spirit. "I want you to care about me, but you never did." The unilateral initiative and sensuality made Baines gradually feel ashamed: "I feel like a whore", and at the same time let Baines learn to let go, learn more deeply and more deeply. Mature to love, so he chose to return the piano. Baines, who lay down for Ada's love, has finally changed. His love is not to satisfy the flesh through transactions, but to love caringly in a more expansive manner in a posture of waiting for his death. He finally ushered in Ada's love. 2. The blurred boundary between the real and the illusory The New Zealand indigenous men group in the film represents a kind of primitiveness and mystery, as well as a combination of kindness and cunning. They have their religious customs and language, and their primitiveness is not only shown in clothing and production methods. As an audience, the local indigenous man thought that what was on the stage was what was really happening, so he rushed to the stage with a gun and tore the curtain. The stage was in chaos and the performance was interrupted. In this scene, their primitiveness and ignorance are manifested in the inability to distinguish the boundary between performance and real life. For the stage play, they are irrational destroyers and intruders, incompetent audiences, and a Accident. On the other hand, this is precisely the embodiment of the kindness and justice of the indigenous people, and it also reflects the success of the performance-the superb performance has aroused the pity and sense of justice of the indigenous audience, and their impulsive feelings reflect their feelings about being bullied. and sympathy for imprisoned women, and abhorrence for oppressors and violence. Nietzsche said, "The highest evil is the highest good, because it is creative destruction." In addition to this scene, other scenes involving indigenous men in the film also portray them as destroyers. One of the highlights is when Stewart catches up in the woods and blocks Ada running towards Baines's house, pulling Ada and nearly raping Ada. However, the violence was interrupted by Flora's cry: "Mom-mum-they're playing your violin!" "They" were the Aboriginal men. Coinciding with Ada's nearly defilement by her husband, the family's piano was toyed with by Aboriginal men, making clumsy and strange keystrokes. The setting of this montage clip has a profound meaning: it implies that the piano is the incarnation of Ada, the defilement of the piano means that Ada has lost her dignity as a woman and a human being, and the shrill screams from the piano are Ada’s Unvoiced calls and shouts. Like many wise and foolish characters, the primitive state of life is always associated with hints of mystery, and indigenous men also play roles similar to "prophet" and "ferryman" in the film. As Stewart rushed down the hill after seeing the keys Ada had given to Baines, the native companion murmured, "The piano is lost, I can't sing." "The piano is lost," hinting at the atrocities that Ada is about to suffer, "No Singing" is a portrait of Ada's situation. However, whether it is a prophet, a ferryman or an intruder, they are all carving out the way for a "new state of life". 5. The shadow and mirror performance is over, and the leftover elements, memories, those people and things, have become Ada's shadow. The shadow and the entity can be linked to each other, or the entity should be eager to get rid of the shadow's harassment. Mirrors can confirm the truth or Create an illusion; the person in the mirror can be similar or opposite. 1. Mary Marie - This short, white, fat, unremarkable maid can be said to be Ada's projection in a fun-filled mirror, the opposite of Ada - Ada is solemn, Mary is lively; Ada is aphasia, Mary is noisy; Ada is emotional With restraint, Mary unabashedly revealed her joys, sorrows, sorrows and fears. What Mary is best at is expression and is used to repeating the words of Maid 1. She is like an echo goddess, fond of repetition, of the last closing word. Mary, who loved Baines, took the initiative to tell Baines "I'm in the locker room" before the show, and couldn't help crying when she learned that Baines was leaving. And Baines loved Ada. Maid 1 said to Mary when she was urinating: "Ada's piano sound is very strange. It seems to convey a feeling, which is creepy. I prefer your piano sound, which is plain and easy to understand." Ada is a woman whose right to speak is restricted, and a female prisoner who is dominated and imprisoned. It's just that one is a female prisoner in mind: happy and light because of ignorance; the other is a female prisoner in body: restrained because of reliance on the piano and soul, and heavy and bound because of an environment that is difficult to communicate with. 2. The performance props of the winged angel wings are inseparable from Flora. In the film, Flora represents an angel who symbolizes purity and justice, and also has the function of an angel as a "messenger", delivering messages and promoting the development of key plots. The wings were brought to Flora by Stewart, so it actually drove the emotional exchange between Stewart and Flora. Flora had sworn to Ada before she met Stewart: "I wouldn't call him 'Dad,' never." In fact, both times, Stewart discovered that Ada was in a relationship with Baines, both from Flora Conversation with Stewart. And when Stewart imprisoned Ada in a small dark room where the windows were blocked by wooden boards, Flora called "Daddy" for the first time - when Stewart sealed the window, Flora pointed to him The crack in the sealed window: "Here, Daddy"; Flora said to Ada lying on the bed: "You shouldn't go up, Daddy doesn't like you like this" At this time Flora has turned from mother to father, can Said that Flora carried the little wings Stuart gave her to achieve growth and rebellion. She was no longer just a little girl who blindly listened to her mother's words. She had free and independent thoughts, and initially formed her own right and wrong, The criteria for judging justice and injustice. At the beginning of the film, Flora drew a large seahorse on the beach, and the overhead shot gave a great view of Flora stepping on the beach and following Ada; the first half of the film also appeared many times in Flora The scene where the mother follows each other step by step. At that time, Flora and Ada were inseparable as a whole - Flora was Ada's mouth, and Ada was Flora's mind. The split between Flora and Ada culminates in the overhead shot: Flora holds Ada's engraved keys, which she was about to glumly give to Bane as instructed by her mother , but suddenly turned from the direction leading to Baines's house, ran and jumped to the place where the trail forked, and then ran to the place where Stewart was working. The "fork in the road" symbolizes choices. The growth of Flora's thoughts has already driven her to make independent choices. However, children are children after all. She knows what is justice and injustice, what should and should not be, but she doesn't understand In love it is difficult to distinguish between justice and injustice. On the other hand, a child is a child after all, and the purity of being a "messenger" lies precisely in the fact that she did not open the passed objects without authorization, and she made the judgment in the "veil of ignorance". Therefore, for Flora, we are moved by her innocence and agility, and pleased with her growth, and it is difficult to blame Flora for the tragedy of Ada's beheading. Apparently Ada was imprisoned by Stewart, who cut off her fingers, and Stewart said to her "I just cut off your wings. , that's all. Now we can be together. "For Stewart, Ada's piano was her wings, the part he could never understand. Stewart's "love" for Ada was so thick, so thick and self-righteous, so thick that it ignored equal communication. I'm more inclined Yu calls this kind of "love" "love disciplined by duty and contract". "Love Ada" has become Stewart's internalized responsibility, and he calls this "property love" "love" , and thinks that the loved one should also naturally assume this responsibility, and calls the "unilateral commitment" "trust", but forgets that whether he is imprisoning Ada or unloading the wooden board that blocks the prison, Neither had an equal communication with Ada and made Ada's voice clear. Excessive possessiveness actually stemmed from a lack of security. Stewart was insecure because although Ada could be imprisoned by him, his mind never Being out of control and unable to guess what Ida was thinking made him confused and disturbed. In fact, as a prisoner, Stewart was actually being held captive by himself, suffering from all kinds of lies, jealousy, suspicion, betrayal. In the aftermath of fading love and exhaustion of patience, painful anxiety is like a thirst for happiness, there is a kind of self-torture cruelty, and there is a deformed self-compromise that enjoys it. Seemingly strong, it is actually weak and vulnerable. , but instead ushered in victory. When Stewart finally read Ada's eyes and read Ada's heart, Stewart chose to let her go. It seemed that Ada was free, but it was actually Stewart, the man The prisoner released himself, and he was free. 3. The piano that begins with the piano will end with the piano. In four. 2 We have argued that the sound of the piano is the voice of Ada, and the fate of the piano is the fate of Ada. Before she went to sea with Baynes, Ada and the piano were inseparable. For the piano, she could resist Stewart and compromise with Baynes' deal. The piano was Ada's spiritual support. However, if the shadow is too strong, it will devour the master. Ada's attachment to the piano just becomes the high wall of her own prison, a heavy burden that carries too many painful memories, and delays her voyage to the new life. , preventing her from breaking the shackles of her old life. Thinking of this, it's not hard to understand Ada's decision to order Baines to push the piano she had sworn to protect over the sea. After all, it is very difficult to decide to cut off. When you are about to lose it, you will inevitably be nostalgic and hesitant. After all, there are memories of her past and the imprint of her growth on the piano. , as the piano is swept into the sea by ropes. Sea water, isolation, sinking, absolute stillness, total purification—it was an experience close to death, an experience of surprise, an opportunity to meditate, a self-examination—in the end, her body and Her will chose to live. Without such an accident, how could she leave the past full of hope and leave no regrets and be reborn? At the end of the film, the piano sounded, and Ada continued to play with the metal fingers that Baines made for him. She has immortal "wings". And this time it wasn't the somber, sad tune that Ada used to play when she used to stare at the piano by the sea, but the sweet tune of that nursery rhyme - "In May, the angel sang sweetly, A young man is lying and waiting for his death, for the love of Barbara Allen..." Ada, who worked hard to practice her voice, was finally not the prisoner who erected a high wall in her heart, and finally she was not the slave of the piano - this time, without relying on The piano, instead of relying on sign language for Flora to narrate, she is now having her own way of vocalization. She has learned to love and be loved, independent and free. Finally - love is not a prison. True love has no prisoners.
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