![]() ![]() And yes, there are literary qualities: it has echoes of Angela Carter and Peter Carey, but these only add to its intelligence and distinction. But a second viewing of The Piano allowed me to see how unique it is. ![]() And for what it is worth, I believe Campion’s masterpiece is her less well known Bright Star, from 2009, with Ben Whishaw as John Keats. I felt it played like an adaptation of some forgotten 800-page Booker-shortlisted novel (it is actually from an original screenplay by Campion). I once found something over-literary in this film. It is also about the gravitational pull of death Campion quotes Thomas Hood’s 1827 poem Silence at the very end of the credits: “There is a silence where hath been no sound, / There is a silence where no sound may be, / In the cold grave – under the deep deep sea.” (Perhaps she was savouring the fact that these words would be shown to near-emptied cinemas.) T he re-release of Jane Campion’s mysterious film The Piano after 25 years is a chance to taste again its fetishism and voyeurism, its strange story of sexuality denied and displaced. ![]()
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