"Piano Lesson" is indeed a female film, it expresses all women's desires, tells all women's hopes, and at the same time exposes all women's inner contradictions. Female—Ada, a mute girl who can play the piano, uses her special way to perform everything she can be understood and interpreted as a woman under the huge curtain of the world.
The director did not evade any questions, and the elegance of the details is impressive. Campion is a director who is good at sketching female psychology, and he has a good grasp of atmosphere. She confronts all the topics that a woman may face in her life, including marriage, love, freedom, eroticism and so on. She has an ambivalent attitude towards marriage, split between dependence and resistance; similarly obstinate respect for the soul and self, using the piano to maintain the only sound self; and arousal to men, love, and desires under the original impulse, All are handled elegantly and solemnly, showing the confidence and sincerity of a female director. "Piano Lesson" does not have a grand narrative, or even a sublation of the narrative itself. Instead, it has a poetic and euphemistic lyric, a passionate desire under the obscurity, and the burst of love full of primitive tension, in the faint description of the lingering, Exudes a more bizarre charm.
The name of the movie is related to piano. Many people, including me, think that this is a movie with piano as the main line, but it is not the case. The setting of the piano is not so much a theme as an attitude that the author wants to express. When a woman has no love and cannot communicate with others normally, the piano becomes her only comfort. When Ada stared at the piano left on the beach during the storm, the desire in her eyes was withdrawn and stubborn. This was obviously not love, but a kind of almost paranoid dependence. This dependence is different from her marriage to Stewart, which was imposed on her by the world, and she can use her strong heart and self to fight against it. But losing the piano means that this powerful self will also pass away. For a woman who strives for spiritual independence and integrity, it is more unbearable than losing her body. In fact, Stewart is the real ruler of Ada, although he seems weak and numb.
And Bein to Ada, contrary to Stewart, is based on this self-identification. Bein is rough and savage and domineering, but on the contrary, he arouses the passion that has never been in the heart of Ida, who is indifferent on the outside. Perhaps the contradiction of a woman is that what she desires in her heart is often what she tries to avoid being detected on the outside, so she has to express it euphemistically through the secret means of playing the piano, so that the process and effect of expression appear so long and slow. The long shot of the group of people under the command of Bein walking down the rugged muddy road with a piano on his back was beautiful. His silence and firmness was a gentle comfort to Ada. He instinctively understood everything in Ada's heart through the sound of the piano. . The director set Ada as a dumb girl, perhaps the purpose is to express the commendability of this "transit-through" understanding. In the film, Ada is playing the piano, and Bein drills into her wide skirt, slowly spreading her fingers, touching her body carefully, hiding in the dark skirt, the dim light diffuses, ambiguous and beautiful. The sound of the piano is flowing, lust and music, love and soul are like two streams of water flowing together, so perfect, people can't help but sigh.
Although the ending is not a style I always like, I respect Campion's thinking about the issue of female rebirth. Ada dropped the piano, struggled hard to survive, and began to practice speaking. Under the influence of love, she finally gave up her consistent way of contacting the world-the piano. An independent and lonely personality disappeared, and another healthy and upward personality was formed. It was love that saved her, and the director gave everything to credit. To love. In fact, the power of love is doubtful. Love is indeed not the way to solve all problems, but this is the method that all women aspire to, whether it is Campion, Ada, or me, or other female audiences, isn’t it? Has anyone sought, or is still seeking this way? Perhaps it is precisely because love is unreliable, and it is even more unreliable to associate love with lust, so this search will show its tragic significance even more. Piano cannot save a woman, nor can love save a woman. This is a double tragedy, but Campion can't bear it. She is a woman, and a woman should cherish her compatriots, so she is weaker and less decisive.
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