Feminists and The Piano
What makes a film ‘feminist’?
In recent times, an increasing number of movies featuring women depicted in a way that is rarely seen in Hollywood — some starring a female hero and others redefining female sexuality — are being labelled ‘feminist’, so much so that it feels as though the word has lost its meaning.
For some, films merely depicting a positive feminine representation are immediately ‘feminist’, but the simple truth is that having a woman in a prominent on-screen role does not immediately mean that a movie is feminist. In Jane Campion’s acclaimed film The Piano, she challenges the typical Hollywood interpretations of feminist films and presents a version picturing female sexuality that defies masculine dominance and shows the power of the feminine voice in a man’s world albeit through the eyes of a mute woman.
Initially, there is no clear distinction whether this Campion’s masterpiece is feminist or anti-feminist — we are instead given vague hints as the film progresses. The common expectation with Hollywood movies is that there is typically little to think about — everything is laid out in front of you like a sheet, easy to visualise and understand. The difference with this film is that it is no Hollywood film and forces the audience to carefully consider all elements of the plot. In the opening sequence, it is pitch black, before red highlights suddenly appear and then gradually pans out to reveal that they are actually Ada’s fingers and hands. We learn she is mute, and left wondering how a film can be feminist when its protagonist cannot verbally communicate. When Stewart refuses to bring the piano back up to his house — how can this be feminist if the female voice is being ignored? After Baines sees the connection between Ada and her piano when she plays it on the beach and decides to trade land for the piano, we are left with the assumption that he is a good man who understands Ada — but no, he is actually a sexual predator!
However, amongst the complex plot, we get glimpses of the real messages Campion tries to convey through Ada. Being a woman in a male dominated society, especially as a mute, she is an easy target for Alisdair Stewart, her husband, and Baines, a retired sailor and Alisdair’s ally, but continues to stay strong in the face of challenges. She continues to make every effort to be reunited with her piano and turns cold towards Alisdair for leaving it behind against her wishes, her way of retaliation. She rebuffs Alisdair’s advances and as a result, he almost becomes an outsider in their relationship that exists only on paper. Ada reluctantly agrees to Baines’ compromise but is able to bargain with him to get her way — one visit for every black key. She stands firm in the face of adversity. These may all be subtle references but they are Campion’s way of communicating the strength and power Ada holds even though she is unable to speak and physically smaller than her male counterparts.
Ada’s piano and how other characters interact with it becomes one of the central elements of the film that Campion uses to highlight the power of women in a male dominated society. For all the characters, the piano is a means for them to show their true emotions — for Ada, it is her way of communicating her feelings, for Alisdair, it is an object used to take out his frustration of not being able to intimately connect with Ada and Baines uses it to relive his desire for Ada. But the piano is also an object that can be traded and extorted. When the piano is abandoned on the beach, it is a heavy object that women cannot move by themselves; it requires manpower. A price must be paid for being able to access the piano and earn it back — that is, to gratify the men who moved it. Women must buy back their autonomy key by key. When Alisdair refuses to bring her piano back to his house, he refuses Ada’s right to express herself. When Baines tries to trade the piano for sexual favours, he extorts the piano for Ada’s right of expression.
Despite the attempts of both, Ada maintains her position of power and does not bow to their pressure. The piano is like Ada’s rock — it is her source of strength and she demonstrates that nothing, not even men, can break that powerful connection.
Campion gives a different take on feminism through Ada and the journey she endures in the film — primarily being forced into arranged marriage by her father and then basically being forced to choose between Alisdair or Baines who both attempt to assert their masculine dominance over her. As a woman, she is depicted merely as a gratification object that can be traded, who is stuck in the middle of a tug of war by both characters who, in a way, own her. As his wife, Alisdair physically owns her and can do to her whatever he likes, as shown when he decides to lock her up after discovering she is cheating on him with Baines and another time when he attempts to force himself onto her in the forest. She is like a pet to him — he thinks simply by physically caring for her, but ignoring emotional needs, Ada will grow to love him. This is evidenced when immediately after bringing Ada to his house but abandoning her piano on the beach, he says, “I’ll be back in three days — perhaps we can start fresh then.” The mentality here is that as a man, he needs to materialistically provide for his family, but not emotionally.
Baines on the other hand, owns her primary means of communication — her beloved piano — which she relies on to express herself. After accompanying Ada and her daughter Flora to the beach where the piano was initially abandoned, he sees for himself the deep connection she has to the piano and takes advantage of this by forcing her to become a prostitute as a way to “earn [her] piano back”.
In the end, Ada eventually chooses to start a new life with Baines, who seems to better understand the connection she shares with her piano. Or is it really that clear-cut? As some people may wish to point out, she was forced to choose between two rapists and ended up going with the same man who molested her by holding her piano hostage.
Feminists must be outraged — how can a film directed by a female director not only completely skip over advancing the interests of women and empowering its female viewers, but also depict a woman treated in such a way? The kicker is that the ball is squarely in Ada’s court — after all, she is the one who has the confidence to defy Alisdair and to send a love note to Baines despite being warned. Her confidence is most likely strengthened after she endures Alisdair’s treatment, where her piano is left behind upon her arrival and being locked up in the house. In the scenes where Baines seduces Ada, it seems as though Baines is the one with the power — being physically larger and having full control over her piano. Yet Ada’s strength is actually substantially greater — she gains power through her playing, her power is her passion and Baines desperately wants to be the one Ada longs for. For Ada, she is getting what she wants — the chance to play on her piano and express herself, but Baines does not.
Ada endures hardship and seems to be constantly stuck in a trap in this film, but she faces them head-on with a positive outlook and a determined mindset. Although stuck in the middle of a sleazy, blackmailing rapist and a violent possessive rapist, she stands firm, and at the end Ada only grows stronger as she learns how to speak for herself verbally. It is a film that empowers female audiences, showing the strength women possess to get through tough times and that they can challenge the norms of a male dominated society. Campion may have woven the plot so that it appears to be go against all feminist values, but one must do a deep dive into all elements of the plot to understand the meaningful message she conveys to the audience.
References
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Erbland, K., 2017. Cannes: With ‘The Piano,’ Jane Campion Explored the Same Feminist Vision That Will Drive ‘Top of the Lake: China Girl’. [online] IndieWire. Available at: <https://www.indiewire.com/2017/05/cannes-the-piano-jane-campion-top-of-the-lake-china-girl-1201816265/> [Accessed 7 June 2021].
Gorbman, C., n.d. Music in The Piano. Jane Campion’s The Piano, pp.42–59.
Klinger, B., 2006. The art film, affect and the female viewer: The Piano revisited. Screen, 47(1), pp.19–41.
Schmidt, S., 2013. Campion, The Piano, and the Feminine Perspective as Feminist Resistance. [online] Queer & Feminist Film Studies, Spring 2013. Available at: <https://pennqueerfemfilm.wordpress.com/2013/05/01/campion-the-piano-and-the-feminine-perspective-as-feminist-resistance/> [Accessed 7 June 2021].
Shugrue, R. and Gage, C., 1994. On The Issues Magazine: Summer 1994: Is The Piano A Feminist Film? Yes by Rebecco Shugrue, No by Carolyn Gage. [online] On The Issues Magazine. Available at: <https://www.ontheissuesmagazine.com/1994summer/summer_summer1994.php> [Accessed 7 June 2021].
Venning, L., 2019. Oceans Away: A Feminist Awakening With The Piano — Girls on Tops. [online] Girls on Tops. Available at: <https://www.girlsontopstees.com/read-me/2019/8/20/oceans-away-a-feminist-awakening-with-the-piano> [Accessed 7 June 2021].
Woodhead, H., 2019. Why The Piano is the greatest film directed by a woman. [online] BBC. Available at: <https://www.bbc.com/culture/article/20191125-the-piano-number-one-film-directed-by-woman-poll> [Accessed 7 June 2021].
