Set in the mid 1800s, The Piano tells the story of mute woman (Hunter) who is sent to marry a wealthy New Zealand land owner (Neill) along with her young daughter (Paquin) and her beloved Piano.
When Neill refuses to take an interest in his new bride's Piano or her music, he creates a rift with her. By contrast, a local Maori (Keitel) takes a keen interest the Piano and a keener interest in Hunter herself.
There is a lot to enjoy in this film. Holly Hunter gives a strong performance without any dialogue. Anna Paquin, then only 11 years old, provides one of the all-time great child performances as Hunter's inquisitive and earnest daughter. In a thankless but vital role, Sam Neill is strong as Hunter's distant husband.
Director Jane Campeon stages the film with a sensitive light tough - winning an Oscar for best screenplay. And Michael Nyman's haunting score perfectly complements the intimate storyline and performances.
But for all these strengths, The Piano is let down by some frustrating and avoidable weaknesses. Harvey Keitel is badly miscast as Hunter's Maori love interest. And we are introduced to several redundant characters, who serve no purpose to the central storyline.
The film would also have benefited from a clearer explanation of the motivations of the main protagonists. While some things can be left unsaid, the near-total lack of clear characterisation means the viewer is left somewhat indifferent to key emotional and plot developments.
Overall, The Piano is worth seeing, particularly for the two Oscar winning performances by Hunter and Paquin. But the frustrating flaws prevent it from being the classic it could easily have been.
When Neill refuses to take an interest in his new bride's Piano or her music, he creates a rift with her. By contrast, a local Maori (Keitel) takes a keen interest the Piano and a keener interest in Hunter herself.
There is a lot to enjoy in this film. Holly Hunter gives a strong performance without any dialogue. Anna Paquin, then only 11 years old, provides one of the all-time great child performances as Hunter's inquisitive and earnest daughter. In a thankless but vital role, Sam Neill is strong as Hunter's distant husband.
Director Jane Campeon stages the film with a sensitive light tough - winning an Oscar for best screenplay. And Michael Nyman's haunting score perfectly complements the intimate storyline and performances.
But for all these strengths, The Piano is let down by some frustrating and avoidable weaknesses. Harvey Keitel is badly miscast as Hunter's Maori love interest. And we are introduced to several redundant characters, who serve no purpose to the central storyline.
The film would also have benefited from a clearer explanation of the motivations of the main protagonists. While some things can be left unsaid, the near-total lack of clear characterisation means the viewer is left somewhat indifferent to key emotional and plot developments.
Overall, The Piano is worth seeing, particularly for the two Oscar winning performances by Hunter and Paquin. But the frustrating flaws prevent it from being the classic it could easily have been.