La Pianiste

Isabelle Huppert must be one of the greatest actresses of her or any other generation. "La Pianiste" truly confirms it. As if that wasn't enough, Annie Girardot plays her mother and Annie Girardot is one of the greatest actresses of her or any other generation. So, as you may well imagine, those pieces of casting are worth the horror we're put through. Isabelle and Annie play characters we've never seen before on the screen. A mother and daughter yes but with such virulent fearlessness that sometimes I was unable even to blink or to breath. Personally, I don't believe in the director's intentions, I don't believe they (the intentions that is) go beyond the shocking anecdote and the ending made me scream with frustration but I was riveted by the story written in the face of the sensational Huppert and the fierceness of Girardot's strength. I highly recommend it to cinema lovers anywhere and to the collectors of great performances like me, you can't afford to miss "La Pianiste"

To be honest I had to go have a stiff drink after this film; I felt drained and my shoulders were knotted. I also had to talk the whole thing out with the friend I saw it with for a good half hour. Whatever else this movie is, it's not dull - you have to have respect for anything that produces such a visceral reaction, even if you couldn't claim to have 'enjoyed' the experience. (Anyone else I've talked to who's seen it has responded in much the same way.)

The reason the film is so powerful is not simply because it deals with unpalatable subject-matter like sado-masochism and violently dysfunctional relationships - that on its own would leave no defence against a charge of exploitation. It packs a punch because whatever her deeply ingrained character flaws, however reprehensible her behaviour (and at one point that's VERY), the piano teacher Erika always retains your sympathy - you never forget the type of influences which might have made her what she is, while scenes as subtle as the one where she walks down a street of shoppers, being casually bumped into without apology, remind you of her utter isolation. Isabelle Huppert's performance is as brilliant as it is uncomfortable and I can't even imagine how she might have wound down after a day's filming.

Appalling, compelling, horribly funny at times, but ultimately deeply despairing look at how people damage each other. View with caution.

Why is it that Freud was always talking about hating your father? Mommies do the best job of screwing you up, and Erica's (Isabelle Huppert) mom is a doozy.

Huppert can always be counted upon to give an incredible performance, and she is superb here in the painful-to-watch film. She is carrying an incredible amount of psychological baggage, and it really affects her emotionless life. She is looking for love, but only finds seduction. Part of the problem is hers as she has no concept of what love is. She has a warped sense of S&M that she supposes is love, but when faced with reality, she is shocked and cold.

I should warn you that the ending is certainly unconventional, but the film is unconventional as well, so it fits.

The Piano Teacher (2001)

This is a difficult movie. It's difficult to watch at times, if you take it seriously. But I think it was difficult to film, to write, to act.

The premise is subtle even if it sounds sensational--show the inner mind and inner life of a brilliant woman who is mentally ill. She has compulsive issues, I think, and sexual repression that has led her to masochistic and finally sadistic extremes. She is admirable in some external way for her self-control which reads, to an outsider, as cold precision, the kind needed to be an extraordinary classical pianist.

But the movie takes us inside her life, first to the unhealthy relationship with her mother, then the oddly stern and indifferent role she takes with her advanced students. Finally there is a young man who sees only her ability, and her external beauty. (This woman, Erika, is played by the incomparable Isabelle Huppert.) He is a pianist of unusual talent, but he wants not to concertize, but to live life. He plays hockey. He has friends. He smiles warmly. He is, in short, a healthy normal and rather handsome young man.

And he falls for Erika. This is where the movie gets weirder and weirder, but also more challenging. They play an intense game of sexual chicken, at first, and lots of head games. He knows she's superior to him in some way--older, more severe---but he has no idea about her slanted view of life and of sex. He wants her. He becomes a pupil of hers just for that reason. She pretends not to care, or to rebuff him (in part this isn't pretense because she's afraid). Finally a couple of serious and demented confrontations occur.

And things unravel in a very interesting way. Some people will find it simply sick and unwatchable. It also happens very slowly--if the film has an obvious flaw, it's the pace. It's in love with itself far too much. But if you get into that flow, and can take the pain that will rise up, then you will at least be greatly affected. That's more than most movies can say.

It's all quite in ernest. I don't think it's a bit campy or playing games with the viewer. It's really trying to get at this woman's psyche--and the young man's, since he gets in deeper than he intended. It's filmed with terrific planning and visual panache. And it makes some kind of deranged sense, too. In fact, there are probably more people in these kinds of situations than I'll even know, and to them I say give this a careful look.

The Metaphysics of Self-Denial. This comment is bound to provoke some controversy by disagreeing with those who have easily classified this film as an indictment of sexual repression and self-denial. Michael Haneke (as a film-maker) and brilliant Isabelle Huppert (as the music professor Erika Kohut) place sexual relationships within a larger frame of reference -- that of the boundaries of one's own SELF.

Erika is a highly intelligent, perfectionistic, ambitious and driven woman, who has single-mindedly and relentlessly identified her whole self with her work and achievement. In a sense, she is madly competitive and is painfully sensitive to any kind of attempt to "sideline" her or, even more importantly, to take her and her opinions for granted. She is no puppet in anyone's theatre. She is unpredictable and that's one of her major instruments of self-assertion. She is overly harsh on everybody surrounding her -- you need a pair of plyers to pull the most modest words of praise from her tight mouth. Observe Erika's body language in the film: accentuated pride, not an insignificant dose of aplomb and even snobbishness, cold sternness, and extremely caustic sense of humor.

But look more carefully: Erika is most harsh towards herself. Unimaginably and cruelly harsh on herself! Erika's fear of sex is not just a function of her mother's repression and other hackneyed reasons examined in thousands of other movies. Erika is first and foremost obsessed with what entering into any kind of a relationship, be it casual sexual intercourse or an enduring love affair, means to her sense of personal independence. She is prepared to forego relationships and suffer as a consequence, rather than to "succumb" and be forever unsure of whether she had given in or emerged on top. She experiences all human relationships, and sexual ones above all else, as a field of power play, of asymmetrical exchange of influences. And there is one thing she apparently cannot withstand at all -- and that's a thought, yes -- just a thought!, of yielding. Her world is truly stark and Gothic, it's a world of maximalist and dramatic choices -- yes or no, on top or on the bottom, bright or dark. She craves the most violent contrasts and cannot stand living in the zones of shades of grey. She understands only super- or subordination in the purest of forms.

Many would probably be correct to argue that Erika's obsession with remaining beyond anybody's influences is in many ways an outcome of her total mental slavery to her mother. And this is obviously a valid point. But the film's posing of the problem of sex in explicit power-related terms, in terms of a power game with fluid rules and irredeemably uncertain outcomes should be the primary focus of analysis. The Piano Teacher's finale is resounding in its relentless dramatism and even stoicism. Erika's conscious pursuit of emotional self-denial for the sake of what she deems her true (and avaricious) God -- self-sufficiency and professional greatness reveals that there is her war with her own humanity and her attempt to become godlike (as one poet said, 'eternal, cold and true'). Her God is completely indifferent to her sufferings and human flaws and needs -- He demands constant sacrifices, demonstrations of loyalty (not unlike Abraham's readiness to slay his own son Isaac at the Almighty's behest). In that sense, her character is not totally unlike the character of the obsessive and self-destructive chess player Alexander Luzhin from The Luzhin Defence or the driven John Nash from The Beautiful Mind (the parallels should not be extended). These movies both show the curative powers of love. There angelical women serve to relieve masculine anguish and self-destructiveness.

Here a man discharges this function.

Erika's sexuality is a function of all these considerations and complications. As a highly intelligent and sensitive woman, she is aware that any action in a relationship may be interpreted in radically divergent ways. Consequently, she alternates haltingly and hysterically between the sadistic and masochistic modes, obsessing over she is in "charge" of a relationship. This shows even in the horrendous scene when Erika asks her potential lover Walter to beat her up.

Equally interesting and intriguing are the two other main characters in the movie, Walter and Erika's pesky and nosy mother. Walter's deep attraction to Erika reveals his inner demons -- his fantasy to serve as a redeemer, a liberator of sorts for a self-destructive woman. He desires to redeem the male part of humanity by welcoming Erika into the world of "normal" human sexuality, by curing her of her pains and doubts. The more he takes upon himself the mantle of a heroic redeemer, the more intense her battle of wills with him becomes, the more symbolic her conflicts with him grow. In a sense, Walter loses in the end! He deprives Erika of her virginity but she pretends to be dead and ice-cold during the act: the ultimate rejection and delegitimation!

Erika's mother is probably the true monster of the movie. Avaricious vampire of a human being. She buzzes with her annoying commentaries and bileful complaints over the viewer's ear like a mosquitto that she is. A spiteful, repulsive character.

This is a highly disturbing and extremely thought-provoking movie with absolutely no clear answers. Bravo, Michael Haneke and Isabelle Huppert for a brilliant movie and an equally brilliant and tense performance!