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| Released: |
1993 |
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| Origin: |
Australia/ France |
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| Colour: |
C |
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| Length: |
120 |
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PRO Reviews
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| | Remarkable for its superb performances and Michael Nyman's rapturous score; she [Campion] not only offers something more starkly, strangely beautiful than most costume-dramas, but puts a fresh spin on the traditional love-story. Campion's most entrancing work to date. | | | | (Geoff Andrew, Time Out) | | Visually sumptuous and tactile. | | | | (Variety) | | A film about silence and expression beyond language... It is a virtuoso interpretation of that literary sensibility in a cinematic form. | | | | (Lizzie Francke, Sight & Sound) | | Every now and then, a movie comes along that restores faith in the visionary power of cinema. The Piano ... is that kind of film. It arrives as a welcome antidote to almost everything that seems to be wrong with the movies. People complain that there are no good stories, that there are no strong roles for women, that there is no eroticism, just sex - no magic, just manipulation. On all counts, The Piano serves as an exhilarating exception to the rule... Despite its 19th-century setting, The Piano seems in tune with the times, resonant with contemporary obsessions ranging from gender confusion to aboriginal rights. | | | | (Brian D. Johnson, Maclean's) | | A triumph of dazzling movie art and canny show-biz heart... The Piano , with startling craft and anguish, asks the question, How much does love hurt? The answer is, Too much. And what is love worth? Everything. | | | | (Richard Corliss, Time) | | Hunter makes this woman - who at first can express her feelings only through music - an almost mythically powerful character, as memorably vivid as one of Thomas Hardy's headstrong, rustic heroines. Like them, she is hounded by destiny, lovers and personal demons, and her drama is acted out against a wild, primal landscape of forest and sea. | | | | (Tom Gliatto, People Weekly) | | A romantic melodrama of almost classical grandeur... Campion views all her characters with a compassion bordering on grace, a humanity - like her heroine's - as dark, quiet, and enveloping as the ocean. | | | | (Owen Gleiberman, Entertainment Weekly) | | The sudden liberation of locked-up libido has seldom been more gloriously rendered than it is by Hunter and Keitel in this exotic, raw-passioned, slightly sick, totally enthralling drama... Campion, working from her own superb screenplay, not only delivers what she promises in terms of gothic upheaval, but she does so with such wit, startling perception, resonant imagery, and merciless tension that we are left with no choice but to place her in the front rank of today's filmmakers." | | (Guy Flatley, Cosmopolitan) | | Sexuality erupts with volcanic fury ... hypnotic. | | | | (Bruce Williamson, Playboy) | | The way the movie develops their relationship, in eroticism and fierce combativeness, is wonderful to watch: The woman is strong as steel and determined to have her way, but the unschooled man surprises her by his tenderness. And Campion's feel for the location, an overgrown wilderness of rain and privation, makes love and all the other aspects of life seem more desperate. | | | | (Roger Ebert, Chicago Sun-Times) | |
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(AAW, LONDON FILM CRITICS' AWARD - ACTRESS OF THE YEAR), Anna Paquin 
