The eye of The Piano, is it really female?
Whites, sharps and flats are there anything deeper to the direction of the piano? The Piano, directed by Jane Campion is a film that explores the elements of gender through the ‘female gaze’. Gaze? How are films even directed through a perspective? Well knowing that feminism is the advocacy of female rights to achieve gender equality, put another way, it is a film based on female politics, theory, and influence. Therefore, simply having a female as the protagonist or female director or even a female-only cast cannot be deemed feminist (1). If a film is to be given the title, a feminist, it needs to have an agenda to highlight an aspect of female life that is neglected. And in doing so, it must spark a dispute, maybe even capture the media. In ‘The Piano’, Jane Campion explores traditional, patriarchal living conditions and the prowess of women. She does this using the ‘female gaze’ as a device, which forces the audience to view the film through a female perspective, free from objectifying one another and rather focusing on conveying emotions and equality (2). Mainly, Campion focuses on interactions between Ada, Alisdair and Banes and how these deviate from 20th-century stereotypes.
Wife dominance in and out of the bedroom
Ada’s arrangement into a traditional marriage is a façade to her dominance. In the scene where Ada and Alisdair are awaiting their photoshoot, a two-person mid shot is used to compare the relationship between Alisdair and Ada. The female gaze focuses on the positioning of the characters and their emotions. Sitting beside each other, the viewer assumes there is a developing intimacy, but after closer inspection, the varying expressions on Ada and Alasdair’s face says otherwise (3). Ada’s pale face resonates with dullness, disgust, and distaste. The gloomy darkened day and constant rain is a comparison to the inauspiciousness of the event. After the photoshoot, Ada rushes to tear off her wedding dress and this accompanied by the fact that Ada opts for no ceremony, highlights that the marriage is simply an illusion. It is at this point, Ada harnesses her control which is evident in her garment choices. Campion makes Ada only wear black garment when she is around Alisdair, it signifies her privacy, her power, and her rebellion. She establishes her standards and her demands baffle Alisdair. In the 20th century, wives were expected to show romance (4), however, in the film. Alisdair is seen attempting to create romance. By wanting to give Ada goodnight kisses he is dismissed by her, leaving Alisdair in a weakened and lonely state. This parallels the introductory Ada scene, where Ada was in a desolate and surrendering state.
His attempts at romance are at their pinnacle in the symbolic scene where Ada is caressing Alasdair’s bum. As a final attempt, Alisdair is lying on his stomach, vulnerable and outside his comfort zone, Ada’s caressing can be compared to her guiding and soothing Alisdair. The female gaze captures the mother-like nature of Ada and how the ‘man of the house’ may also need to be cared for. This shot is followed by a dual-layer shot, which now returns to focusing on Alisdair.
‘I want to touch you’
It is at this point, Ada’s power is accentuated the most, the viewer realises the dependency Alisdair has for Ada. Campion’s contrast in gender dominance poses a feminist view.
Authority Ada and her hidden headship
Ada portrayal as a leader figure parallels the patriarchal leadership in the 20th century. In an introductory scene, a selection of shots is used to describe Ada’s dismount from the boat to the New Zealand shore.
The first closeup captures Ada’s initial panic when she frantically searches for a hand to grasp. Combined with a low angle, it presents Ada as someone with courage, exploring her boundaries. This is followed by a long shot of the raging waves and howling winds, Ada is carried across the water by the sailors who are almost an extension of her. The final shot is another long shot that encompasses Ada staring into the mountains and a more serene backing track.
By combing the three shots, Campions makes a parallel between the pioneering and breaking old stereotypes. The closeup highlighted Ada’s struggle to dismount the boat which could be compared to the initial fear of breaking away from the feminine stereotypes. Her journey to the bank is difficult and the storm is a symbol of society dismissing one’s attempts. However, upon conquering the ranging storm, Ada is left in awe at the scenery which resembles one’s awe in their abilities after fighting through societies cancellation. Campion enforces Ada’s leadership in the scene where an extreme long shot of Ada running to the piano is used.
In one of the most picturesque stills, an orange sky representing joy, warmth and happiness, uplifting music, and the crashing of soothing waves. The foreground captures Ada’s attachment to the piano, expressed by her running. And following behind are Flora and Baines in Ada’s footsteps, which once again emphasises Ada’s ability to guide and be an authority figure. Baines’ followership contradicts the leading men were expected to have and this becomes relevant in the following scene. Baines is seen lying underneath the piano staring at Ada’s sock, where he requests her uncover her dress.
‘Lift your dress higher’
He finds a small tear that he caresses to satisfy his emotions symbolising the degree of his lust. In a later scene, he is seen naked making an offer to Ada to lay down with her (5). Baines is beguiled by Ada’s persona, her attraction makes him wretched. Ada’s leadership qualities challenge the traditional male leadership.
Men and women not so ying and yang
Campion shows the similarities between men and women. Baines’ intention of pursuing Ada was pure, but his methods were exploitative. When Ada wanted to deliver the key to Baines, she had the pure intention of communicating love, yet she exploited the trust of Alisdair. In this scenario both Ada and Baines deceived Alistair. Furthermore, Campion enforces these similarities when Baines realises that he is mistreating Ada.
“You are becoming a whore”
When Ada returns, he continues to describe the pain he has suffered and the description he provides shows his selflessness. The sacrifice he makes to ensure the betterment of Ada is like Ada choice to bury the piano in the water. In the boat scene, a Maori boatman states ‘She is right, it is a coffin’, seconds later the piano sinks to its grave and Ada choice of distancing from it highlights her attempts to break away from her muteness and start a new life with Baines, an expression of selflessness (6). In both comparisons, Campion indicates the equal-ness in mentality between men and women.
The piano is a feministic film that provided a different view of gender traits. By presenting a powerful female protagonist who exhibited leadership and dominance, Jane Campion contradicted traditional stereotypes. However, in doing so she also highlighted the similarities men and women share by utilising the female gaze. It focused on the interactions between one another and equal-ness that creates harmony.
Bibliography:
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- Reich, J. (2017) “4. How Are the Characters Portrayed?”, Open SUNY Textbooks, p. Available at: https://milnepublishing.geneseo.edu/exploring-movie-construction-and-production/chapter/4-how-are-the-characters-portrayed/ (Accessed: 5 June 2021).
- Marriage in the 19th Century (2021). Available at: https://spartacus-educational.com/Wmarriage.htm (Accessed: 5 June 2021).
- A Dąbrowskian Interpretation of the movie The Piano. (2021). Available at: https://www.positivedisintegration.com/piano.htm (Accessed: 5 June 2021).
- Analysis on Jane Campion’s — The Piano (2019). Available at: https://marygabriellestrause.medium.com/analysis-on-jane-campion-s-the-piano-f0bf78f7c7f1 (Accessed: 5 June 2021).
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The Piano (2021). Available at: https://online.clickview.com.au/share?sharecode=ad5426c8 (Accessed: 5 June 2021).
