| Read my Dreambook! Sign my Dreambook! |  |
The Piano examines the construction of sexuality in nineteenth century colonial New Zealand within the discourses of power that shaped this era. Different discourses of gender and race and their interactions are presented in order to support a narrative critique of the European patriarchal ideology as dominant social structure.
In the opening sequence of the film, the viewer is immediately presented with an image of marriage as entirely contractual: "Today he married me to a man I've not yet met." The protagonist, although she has already been established as strong-willed and non-conforming, is accepting but not altogether optimistic about the arrangement. The viewer also learns that she already has a daughter, but the question of the child's legitimacy are left unanswered. These factors suggest potential conflict with the patriarchal authority of the husband over his spouse's sexuality and introduce the primary power discourse of the plot: that of the female protagonist's commodity status through the negation female autonomy by the patriarchal system.
European patriarchal values are embodied by Stuart's character, he symbolises repression, the narrowing of sexuality into an unemotional discourse of female passivity and male dominance. The film exposes the property mentality which resulted in the devastation of the natural landscape but also in the corruption of personal relationships - above all else, Stuart believes in his ownership of Ada. He demonstrates this by negating her own claim to property in the beginning of the film. Stuart does not hesitate in the trade of Ada's piano to Baines for a piece of land, and refuses to acknowledge her right to it, or understand her anger over this action. His sense of property also extends to her sexuality, he attempts to rape her twice to exert his ownership, to force her into submission, when his sense of control over her is threatened. Stuart is unable to appreciate a sexuality where he is not in the dominant role. After he learns of Ada's adultery and forbids her to continue the relationship, Ada attempts to initiate intimacy with him on her own terms: with her taking an active but gentle role, she does not wish for him to touch her. Stuart cannot handle a situation, especially a sexual one, that requires his passivity, he is disturbed by the idea and it makes him uncomfortable, although he was the one who initially expressed concern that she had not yet "become affectionate". His patriarchal view of sexuality is so limited that he cannot understand Ada's need to establish a level of intimacy she is comfortable with, before they can express mutual affection.
Another way in which power discourses of sexuality are challenged in the film is through the contrast of colonial with Maori cultural value systems. Nineteenth century European culture allowed for only heterosexuality between adults, within the institution of marriage. This is evident in Stuart's reaction to the sex play of Flora and the Maori children; they are embracing trees in a sexual manner while the Maori women watch on, unconcerned. Stuart, upon seeing Flora's behaviour, is shocked and offended. "I'm greatly shamed! You've shamed these trunks." He chastises her, and in the following scene he is shown supervising her as she whitewashes the trees. This shows how sexuality that is not controlled by the accepted power discourse of a marital relationship must be labeled as immoral and obscene. The film also makes the comparison of European female colonialist sexuality with that of the Maori women. The scene in which Baines is doing his washing in the river with a Maori family most powerfully illustrates the distinction: "You need a wife. Its no good having it sulk between you legs for the rest of its life." So Baines is informed by the Maori woman. Here, her wisdom is privileged - her culture accepts human sexuality and desires to be undeniable, rather than shameful. She speaks frankly with Baines about his sexuality, because it is not a taboo topic within the Maori culture. Baines also has sexual relations with Maori women he is not married to, which is not scandalous within their culture. The film appears to be presenting an alternative view of sexuality, one within which power discourses are not an accepted necessity, as they are within the parallel sexuality of the European colonialists. Clothing also plays an interesting role in the juxtapositions of the two cultures - the Maoris are not ashamed of nudity, their dress is practical for the environment, and the women dress comfortably. This contrasts with the dress of the colonialists; both sexes wear many layers of restraining clothing, but it is the European females whose dress is especially confining, with a tight corset and large, awkward hoop skirt, symbolising the cultural restrictions of femininity.
Baines' sexuality and his concept of it is much less culturally constructed than that of Stuart, since he himself has less of a patriarchal colonialist identity. He has the Maori facial tattoo, and speaks the language, he also maintains less of a power position over them than does Stuart. Baines has respect for equality, both across race and gender; the Maori women in his house are not subservient as they are in the other colonial households. Baines values female sexuality, he also recognises that women have a right to it - he does not use violence against Ada because he is not interested in enforcing his will over hers. He recognises the value that the piano has for Ada, which Stuart fails to do. Through Baines The Piano challenges the traditional power discourse of sexuality within marriage. The concept of sexual ownership is shown to be false, even though the nineteenth century patriarchy treated women themselves as property. Ada rejects sexual relations with her husband - her sexuality still belongs to her, and she enters into the sexual contract with Baines by choice. Ada is aware of her sexual power over Baines: she realises it when Baines leaves the church hall out of frustration and humiliation when she will not let him sit next to her. Also, the film does not portray her adultery as an act of immorality; it is sex without love that is critiqued in the film, explicitly by Baines. Implicitly, Baines' sexuality negates male domination. He talks to Ada like an adult equal, while Stuart treats her like a child.
Both Ada and Baines deviate from the traditional institution of European culture: they require love to have a sexual relationship, and love equates freedom from power discourses. This is strikingly juxtaposed with Stuart's concept of sexual relationships. Stuart seems completely ignorant that affection must be earned through trust, respect and love - none of which he shows towards Ada. Baines and Ada both undergo a turning point in their feelings towards each other. For Baines it is when he gives the piano back to her, because he cannot continue with their contract. "I want you to care for me." For Ada, it is after this act of kindness that she realises her attachment to him, their sexual involvement has become emotional also. Here a reversal of conventional emotional stereotypes is explored. Male emotional vulnerability as a result of sexual relations, rather than female, is privileged, and represented by Baines character: "...Does this mean something to you, Ada?... Do you love me?" In many ways this is a film which privileges respect and appreciation of female sexuality and is strongly opposed to its exploitation. This can be seen through the presentation of nudity in the film - male nudity is revealed more than female, and the portrayal of Ada's naked body is more discreet than the portrayal of Baines'. The film uses this technique to express the necessary privacy that should surround intimacy; the concept that sexuality must involve emotional interaction as well as physical is also conveyed.
In the film, the piano as an object takes on the symbolism of Ada's body, and her sexuality. It also is traded, and for both the trading of the piano by Stuart and Ada's arranged marriage by her father, the attachment of misplaced property value is privileged; the piano is no more Stuart's to trade than is Ada by the males who hold authority over her. Because the piano is her most powerful instrument of expression, the action by Stuart to trade is almost like his act of cutting off her finger - actions of cruelty, the castration of her autonomy. Stuart and Baines' handling of the piano both echo their concept of female sexuality. Baines is aware of the piano's value to Ada, his first act of compassion is to have it tuned. This demonstrates Baines' respect for it and for his respect of female sexuality in general. The piano gains conscious sexual significance for him as it comes to represent Ada's body. Early on, he is depicted polishing it in the nude, there is a ritual solemnity about this action that indicates he is serious about his attraction to Ada, that sexuality for him is not about power but about respect and adoration. The attempted rape scene of Ada byStuart in the forest is juxtaposed with images of the Maori men thumping and banging on the piano, conveying a message of physical disrespect and violence. Ada is saved only when Flora comes to find her in distress "They're touching your piano!" The film privileges the acts of violation occurring simultaneously as being connected, emphasising their symbolic similarity.
In the denoument, the piano ceases to symbolise Ada's sexuality - it represents more her misery, as the centre of her tragedy. Her new life in Nelson with Baines is portrayed as a rebirth of sexuality, the death of the piano and near death of Ada as the burial of sexual repression, the loveless power discourse between her and Stuart. Ada wears a black veil while learning to speak, and Baines kisses her through the veil and then lifts it to kiss her lips. The veil, being black rather than white, may symbolise the fact that Ada is not sexually 'pure' but as this is a traditional patriarchal value it is insignificant to both of them. The purity of their union is in their love for each other, the quality of sexual respect and equality that connects them. The scene conveys the concept that the sexuality Ada and Baines endorse is based love and acceptance over lust, but also on unrepressed emotion. The return in the final moments of the film to the image of Ada attached to the piano under the ocean and her contemplation of the silence that exists there serves to reinforce her independent identity - that her experiences are part of this and she will hold on to them, rather than transform herself to fit her new life. Although the film endorses the convention of the sought after union between lovers as bringing happiness, it does not present it as a mergingof identity - they have found a space within which they can express their sexuality freely, but it remains their own, for there is no triumphing of one discourse over another.
The Piano is a film which succeeds in its study of sexuality, and the destructive effect of institutionalised power discourses upon personal relationships. It emphasises the need for cultural acknowledgment of an individual autonomy, thus destroying the morality of the nineteenth century patriarchy which dictated sexual repression and ownership. Love as an integral element of sexual relations, with the definition of love conveying mutual respect as well as desire is presented as a major theme in the film, and sexual relations as a requirement of oppressive transactions such as arranged marriage are shown to be not only irrationally unjust but potentially tragic.
| Read my Dreambook! Sign my Dreambook! | |