The Piano

This article is about the film. For the instrument, see Piano. For other uses, see Piano (disambiguation).

Not to be confused with the film The Pianist (2002 film).

The Piano is a 1993 period drama film written and directed by Jane Campion. Starring Holly Hunter, Harvey Keitel, Sam Neill and Anna Paquin in her first major acting role, the film focuses on a mute Scottish woman who travels to a remote part of New Zealand with her young daughter after her arranged marriage to a frontiersman.

The Piano
Theatrical release poster
Directed by	Jane Campion
Written by	Jane Campion
Produced by	Jan Chapman
Starring	Holly Hunter Harvey Keitel Sam Neill Anna Paquin Kerry Walker Genevieve Lemon
Cinematography	Stuart Dryburgh
Edited by	Veronika Jenet
Music by	Michael Nyman
Production companies	Jan Chapman Productions CiBy 2000
Distributed by	BAC Films (France) Buena Vista International^[1] (Australia and New Zealand; through Roadshow Film Distributors^[2])
Release dates	15 May 1993 (1993-05-15) (Cannes) 19 May 1993 (1993-05-19) (France) 5 August 1993 (1993-08-05) (Australia)
Running time	117 minutes
Countries	New Zealand Australia France
Languages	English Māori British Sign Language
Budget	US$7 million^[3]
Box office	US$140 million^[4]

A co-production between New Zealand, Australia and France, The Piano was a critical and commercial success, grossing US$140.2 million worldwide against its US$7 million budget. Hunter and Paquin both received high praise for their performances. In 1993, the film won the Palme d'Or at the Cannes Film Festival, making Campion the first female director to ever receive this award. It won three Academy Awards out of eight total nominations in March 1994: Best Actress for Hunter, Best Supporting Actress for Paquin and Best Original Screenplay for Campion. Paquin was 11 years old at the time and remains the second-youngest actor to win an Oscar in a competitive category.

The plot has similarities to Jane Mander's 1920 novel The Story of a New Zealand River, but also substantial differences. Campion has cited the novels Wuthering Heights and The African Queen as inspirations.^[5]

Plot

In the mid-1800s,^[6] a Scotswoman named Ada McGrath who chooses not to speak is sold by her father into marriage with New Zealand frontiersman Alisdair Stewart, along with her daughter Flora. Ada has not spoken since the age of six, and the reason remains unknown. She communicates through playing the piano and sign language, with Flora acting as her interpreter. Ada had a relationship with a piano teacher whom she believed she had seduced through mental telepathy, resulting in Flora's birth, but the teacher left her after becoming frightened and refusing to listen.

Ada and Flora, along with their handcrafted piano, are stranded on a New Zealand beach by a ship's crew. The next day, Alisdair arrives with his Māori crew and neighbor George Baines, a retired sailor who's adapted to Maori customs, including facial tattoos. Alisdair initially tells Ada that they don't have enough bearers for the piano and then refuses to go back for it, claiming that they all need to make sacrifices. Ada is determined to be reunited with her piano, and coldly rejects Alisdair's advances. Desperate to retrieve her beloved piano, Ada seeks out George's help. Although he can't read her note, he is entranced by her music and agrees to help her. George offers Alisdair the land he's been coveting in exchange for the piano and Ada's lessons. Alisdair agrees, oblivious to George's attraction to Ada. Ada is enraged by George's proposition, but ultimately agrees to trade lessons for piano keys. She restricts the lessons to the black keys only and resists George's demands for more intimacy. Ada continues to rebuff Alisdair's advances while exploring her sensuality with George. George eventually realizes that Ada will never commit to him emotionally and returns the piano to her, acknowledging that their arrangement has made her a "whore" and him "wretched." George confesses that he wants Ada to care for him genuinely.

Although Ada has her piano back, she still longs for George and returns to him. Alisdair overhears them having sex and even watches them through a crack in the wall. Furious, he follows Ada the next day and confronts her in the forest, where he tries to force himself on her despite her strong resistance. Alisdair ultimately coerces Ada into promising she will no longer see George.

Shortly after, Ada instructs Flora to deliver a package to George, which contains a piano key with a love declaration engraved on it. Flora hesitates, but eventually delivers it to Alisdair instead. Enraged after reading the message, Alisdair cuts off Ada's index finger with an axe, depriving her of the ability to play the piano. He sends Flora to George with the severed finger, warning him to stay away from Ada. Later, while touching Ada as she sleeps, Alisdair hears what he thinks is her voice in his head, asking him to let George take her away. He goes to George's house and asks if Ada has ever spoken to him, but George assures him she has not. They leave together from the same beach where Ada first arrived in New Zealand, with her belongings and piano tied onto a Māori longboat. As they row to the ship, Ada asks George to throw the piano overboard. She gets entangled in the rope attached to the piano but eventually frees herself and is pulled to safety.

In the epilogue, Ada describes her new life with George and Flora in Nelson, New Zealand, where she gives piano lessons in their new home. George has made her a metal finger to replace the one she lost, and Ada has been practicing and taking speech lessons. She sometimes dreams of the piano resting at the bottom of the ocean with her still tethered to it.

Cast

• Holly Hunter as Ada McGrath
• Harvey Keitel as George Baines
• Sam Neill as Alisdair Stewart
• Anna Paquin as Flora McGrath
• Kerry Walker as Aunt Morag
• Genevieve Lemon as Nessie
• Tungia Baker as Hira
• Ian Mune as Reverend
• Peter Dennett as Head seaman
• Cliff Curtis as Mana
• George Boyle as Ada's father
• Rose McIver as Angel
• Mika Haka as Tahu

Production

Casting the role of Ada was a difficult process. Sigourney Weaver was Campion's first choice, but ultimately turned down the role. Jennifer Jason Leigh was also considered, but had a conflict with her commitment to Rush (1991).^[7] Isabelle Huppert met with Jane Campion and had vintage period-style photographs taken of her as Ada, and later said she regretted not fighting for the role as Hunter did.^[8]

The casting for Flora occurred after Hunter had been selected for the part. They did a series of open auditions for girls age 9 to 13, focusing on girls who were small enough to be believable as Ada's daughter (as Holly Hunter is relatively short at 157 cm / 5' 2" tall^[9]). Anna Paquin ended up winning the role of Flora over 5,000 other girls.^[10]

Alistair Fox has argued that The Piano was significantly influenced by Jane Mander's The Story of a New Zealand River.^[11] Robert Macklin, an associate editor with The Canberra Times newspaper, has also written about the similarities.^[12] The film also serves as a retelling of the fairytale "Bluebeard",^[13][14] itself depicted as a scene in the Christmas pageant.

In July 2013, Campion revealed that she originally intended for the main character to drown in the sea after going overboard after her piano.^[15]

Production on the film started in April 1992, filming began on 11 May 1992 and lasted until July 1992, and production officially ended on 22 December 1992.^[16]

Reception

Reviews for the film were overwhelmingly positive. Roger Ebert wrote: "The Piano is as peculiar and haunting as any film I've seen" and "it is one of those rare movies that is not just about a story, or some characters, but about a whole universe of feeling".^[17] Hal Hinson of The Washington Post called it an "evocative, powerful, extraordinarily beautiful film".^[18]

The Piano was named one of the best films of 1993 by 86 film critics, making it the most acclaimed film of 1993.^[19]

In his 2013 Movie Guide, Leonard Maltin gave the film 3 1/2 stars out of 4, calling the film a "haunting, unpredictable tale of love and sex told from a woman's point of view" and went on to say "writer-director Campion has fashioned a highly original fable, showing the tragedy and triumph erotic passion can bring to one's daily life".^[20]

On review aggregator website Rotten Tomatoes, the film holds an approval rating of 90% based on 71 reviews, and an average rating of 8.50/10. The website's critical consensus reads: "Powered by Holly Hunter's main performance, The Piano is a truth-seeking romance played in the key of erotic passion."^[21] On Metacritic, the film has a weighted average score of 89 out of 100, based on 20 critics, indicating "universal acclaim".^[22]

The film was the highest-grossing New Zealand film of all-time surpassing Footrot Flats: The Dog's Tale (1986) with a gross of $NZ3.8 million.^[23]

Accolades

The film was nominated for eight Academy Awards (including Best Picture), winning three for Best Actress (Holly Hunter), Best Supporting Actress (Anna Paquin) and Best Original Screenplay (Jane Campion). At age 11, Anna Paquin became the second youngest competitive Academy Award winner (after Tatum O'Neal in 1973).^[24]

At the Cannes Film Festival, the film won the Palme d'Or (sharing with Chen Kaige's Farewell My Concubine), with Campion becoming the first woman to win the honour, as well as the first filmmaker from New Zealand to achieve this.^[25][26] Holly Hunter also won Best Actress.^[27]

In 2019, the BBC polled 368 film experts from 84 countries to name the 100 best films by women directors, and The Piano was named the top film, with nearly 10% of the critics polled giving it first place on their ballots.^[28]

Award	Category	Recipient(s)	Result	Ref.
20/20 Awards	Best Picture		Nominated
	Best Director	Jane Campion	Nominated
	Best Actress	Holly Hunter	Won
	Best Supporting Actress	Anna Paquin	Nominated
	Best Original Screenplay	Jane Campion	Nominated
	Best Art Direction	Andrew McAlpine	Nominated
	Best Cinematography	Stuart Dryburgh	Nominated
	Best Costume Design	Janet Patterson	Nominated
	Best Film Editing	Veronika Jenet	Nominated
	Best Original Score	Michael Nyman	Nominated
Academy Awards	Best Picture	Jan Chapman	Nominated	^[29]
	Best Director	Jane Campion	Nominated
	Best Actress	Holly Hunter	Won
	Best Supporting Actress	Anna Paquin	Won
	Best Screenplay – Written Directly for the Screen	Jane Campion	Won
	Best Cinematography	Stuart Dryburgh	Nominated
	Best Costume Design	Janet Patterson	Nominated
	Best Film Editing	Veronika Jenet	Nominated
American Cinema Editors Awards	Best Edited Feature Film		Nominated
American Society of Cinematographers Awards	Outstanding Achievement in Cinematography in Theatrical Releases	Stuart Dryburgh	Nominated	^[30]
Argentine Film Critics Association Awards	Best Foreign Film	Jane Campion	Won
Australian Film Institute Awards	Best Film	Jan Chapman	Won	^[31]
	Best Direction	Jane Campion	Won
	Best Actor in a Leading Role	Harvey Keitel	Won
	Best Actress in a Leading Role	Holly Hunter	Won
	Best Actor in a Supporting Role	Sam Neill	Nominated
	Best Actress in a Supporting Role	Kerry Walker	Nominated
	Best Original Screenplay	Jane Campion	Won
	Best Cinematography	Stuart Dryburgh	Won
	Best Costume Design	Janet Patterson	Won
	Best Editing	Veronika Jenet	Won
	Best Original Music Score	Michael Nyman	Won
	Best Production Design	Andrew McAlpine	Won
	Best Sound	Lee Smith, Tony Johnson, Gethin Creagh, Peter Townsend and Annabelle Sheehan	Won
Awards Circuit Community Awards	Best Director	Jane Campion	Nominated
	Best Actress in a Leading Role	Holly Hunter	Won
	Best Actress in a Supporting Role	Anna Paquin	Won
	Best Original Screenplay	Jane Campion	Nominated
	Best Costume Design	Janet Patterson	Nominated
	Best Original Score	Michael Nyman	Nominated
	Best Production Design	Andrew McAlpine	Nominated
Bodil Awards	Best Non-American Film	Jane Campion	Won
Boston Society of Film Critics Awards	Best Actress	Holly Hunter	Won	^[32]
British Academy Film Awards	Best Film	Jan Chapman and Jane Campion	Nominated	^[33]
	Best Direction	Jane Campion	Nominated
	Best Actress in a Leading Role	Holly Hunter	Won
	Best Original Screenplay	Jane Campion	Nominated
	Best Cinematography	Stuart Dryburgh	Nominated
	Best Costume Design	Janet Patterson	Won
	Best Editing	Veronika Jenet	Nominated
	Best Original Music	Michael Nyman	Nominated
	Best Production Design	Andrew McAlpine	Won
	Best Sound	Lee Smith, Tony Johnson and Gethin Creagh	Nominated
British Society of Cinematographers	Best Cinematography in a Theatrical Feature Film	Stuart Dryburgh	Nominated	^[34]
Camerimage	Golden Frog (Main Competition)		Won
Cannes Film Festival	Palme d'Or	Jane Campion	Won^[a]	^[27]
	Best Actress	Holly Hunter	Won
César Awards	Best Foreign Film	Jane Campion	Won	^[35]
Chicago Film Critics Association Awards	Best Film		Nominated	^[36]
	Best Foreign Language Film		Won
	Best Director	Jane Campion	Nominated
	Best Actress	Holly Hunter	Won
	Best Supporting Actress	Anna Paquin	Nominated
	Best Screenplay	Jane Campion	Nominated
	Best Original Score	Michael Nyman	Won
Dallas–Fort Worth Film Critics Association Awards	Best Film		Nominated
	Best Director	Jane Campion	Nominated
	Best Actress	Holly Hunter	Won
David di Donatello Awards	Best Foreign Actress		Nominated
Directors Guild of America Awards	Outstanding Directorial Achievement in Motion Pictures	Jane Campion	Nominated	^[37]
Film Critics Circle of Australia Awards	Best Director		Won	^[38]
	Best Supporting Actor – Female	Anna Paquin	Won
	Best Screenplay	Jane Campion	Won
	Best Musical Score	Michael Nyman	Won
Golden Globe Awards	Best Motion Picture – Drama		Nominated	^[39]
	Best Actress in a Motion Picture – Drama	Holly Hunter	Won
	Best Supporting Actress – Motion Picture	Anna Paquin	Nominated
	Best Director – Motion Picture	Jane Campion	Nominated
	Best Screenplay – Motion Picture		Nominated
	Best Original Score – Motion Picture	Michael Nyman	Nominated
Golden Reel Awards	Best Sound Editing – Foreign Feature	Martin Oswin	Won
Guldbagge Awards	Best Foreign Film		Won	^[40]
Independent Spirit Awards	Best International Film		Won	^[41]
Japan Academy Film Prize	Outstanding Foreign Language Film		Nominated
Kinema Junpo Awards	Best Foreign Language Film	Jane Campion	Won
London Film Critics Circle Awards	Film of the Year		Won	^[42] ^[43]
	Actress of the Year	Holly Hunter	Won
Los Angeles Film Critics Association Awards	Best Picture		Runner-up	^[44]
	Best Director	Jane Campion	Won
	Best Actress	Holly Hunter	Won
	Best Supporting Actress	Anna Paquin	Won^[b]
	Best Screenplay	Jane Campion	Won
	Best Cinematography	Stuart Dryburgh	Won^[c]
	Best Music Score	Michael Nyman	Runner-up
Medias Central European Film Festival	Best Picture (Audience Award)	Jane Campion	Won
Nastro d'Argento	Best Foreign Director		Nominated
National Board of Review Awards	Top Ten Films		4th Place	^[45]
	Best Actress	Holly Hunter	Won
National Society of Film Critics Awards	Best Film		2nd Place	^[46]
	Best Director	Jane Campion	2nd Place
	Best Actress	Holly Hunter	Won
	Best Supporting Actress	Anna Paquin	3rd Place
	Best Screenplay	Jane Campion	Won
	Best Cinematography	Stuart Dryburgh	2nd Place
New York Film Critics Circle Awards	Best Film		Runner-up	^[47]
	Best Director	Jane Campion	Won
	Best Actress	Holly Hunter	Won
	Best Screenplay	Jane Campion	Won
	Best Cinematographer	Stuart Dryburgh	Runner-up
Political Film Society Awards	Democracy		Nominated
Producers Guild of America Awards	Outstanding Producer of Theatrical Motion Pictures	Jan Chapman	Nominated	^[48]
	Most Promising Producer in Theatrical Motion Pictures		Won
Robert Awards	Best Foreign Film	Jane Campion	Won
SESC Film Festival	Best Foreign Film		Won
Southeastern Film Critics Association Awards	Best Picture	Jan Chapman	Won	^[49]
	Top Ten Films		Won
	Best Director	Jane Campion	Won
	Best Actress	Holly Hunter	Won
Turkish Film Critics Association Awards	Best Foreign Film		Won
Vancouver International Film Festival	Most Popular International Film	Jane Campion	Won
Writers Guild of America Awards	Best Screenplay – Written Directly for the Screen		Won	^[50]

Soundtrack

 

"The Piano"

Extract from the score of the 1993 film "The Piano"

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Problems playing this file? See media help.

For more details, see The Piano (soundtrack).

The score for the film was written by Michael Nyman, and included the acclaimed piece "The Heart Asks Pleasure First"; additional pieces were "Big My Secret", "The Mood That Passes Through You", "Silver Fingered Fling", "Deep Sleep Playing" and "The Attraction of the Pedalling Ankle". This album is rated in the top 100 soundtrack albums of all time and Nyman's work is regarded as a key voice in the film, which has a mute lead character.^[51]

Home media

The film was released on DVD in 1997 by LIVE Entertainment and on Blu-ray on 31 January 2012 by Lionsgate, but already released in 2010 in Australia.^[52]

On 11 August 2021, the Criterion Collection announced their first 4K Ultra HD releases, a six-film slate, will include The Piano. Criterion indicated each title will be available in a 4K UHD+Blu-ray combo pack, including a 4K UHD disc of the feature film as well as the film and special features on the companion Blu-ray. The Piano was released on January 25, 2022.^[53]

Literature

• Althofer, Beth. "The Piano, or Wuthering Heights revisited, or separation and civilization through the eyes of the (girl) child." Psychoanalytic Review 81, no. 2 (1994): 339-342.
• Attwood, Feona. "Weird Lullaby Jane Campion's The Piano." Feminist Review 58, no. 1 (1998): 85-101.
• Bentley, Greg. "Mothers, daughters, and (absent) fathers in Jane Campion's The Piano." Literature/Film Quarterly 30, no. 1 (2002): 46.
• Bihlmeyer, Jaime. "The (Un) Speakable FEMININITY in Mainstream Movies: Jane Campion's" The Piano"." Cinema Journal (2005): 68-88.
• Bihlmeyer, Jaime. "Jane Campion’s The Piano: The Female Gaze, the Speculum and the Chora within the H (y) st (e) rical Film." Essays in Philosophy 4, no. 1 (2003): 3-27.
• Bogdan, Deanne, Hilary E. Davis, and Judith Robertson. "Sweet Surrender and Trespassing Desires in Reading: Jane Campion's The Piano and the struggle for responsible pedagogy." Changing English 4, no. 1 (1997): 81-103.
• Bussi, Elisa. "Voyages and Border Crossings: Jane Campion’s The Piano (1993)." In The Seeing Century, pp. 161–173. Brill, 2000.
• Campion, Jane. Jane Campion's The Piano. United Kingdom: Cambridge University Press, 2000.
• Chumo II, Peter N. "Keys to the Imagination: Jane Campion's The Piano." Literature/Film Quarterly 25, no. 3 (1997): 173.
• Dalton, Mary M., and Kirsten James Fatzinger. "Choosing silence: defiance and resistance without voice in Jane Campion's The Piano." Women and Language 26, no. 2 (2003): 34.
• Davis, Michael. "Tied to that Maternal ‘Thing’: Death and Desire in Jane Campion's The Piano." Gothic Studies 4, no. 1 (2002): 63-78.
• Dayal, Samir. "Inhuman love: Jane Campion's The Piano." Postmodern Culture 12, no. 2 (2002).
• DuPuis, Reshela. "Romanticizing Colonialism: Power and Pleasure in Jane Campion's" The Piano"." The Contemporary Pacific (1996): 51-79.
• Jacobs, Carol. “Playing Jane Campion’s Piano: Politically,” in Modern Language Notes, vol. 109, December 1994, pp. 757–785.
• Frankenberg, Ronnie. "Campion's The Piano'." The Body, Childhood and Society (2016): 125.
• Frus, Phyllis. "Borrowing a melody: Jane Campion’s ‘The Piano’and intertextuality." Beyond adaptation: Essays on radical transformations of original works (2010).
• Gillett, Sue. "Lips and fingers: Jane Campion's The Piano." (1995): 277-287.
• Hazel, Valerie. "Disjointed Articulations: The Politics of Voice and Jane Campion's" The Piano"." Women's Studies Journal 10, no. 2 (1994): 27.
• Hendershot, Cyndy. "(Re) Visioning the Gothic: Jane Campion's" The Piano"." Literature/Film Quarterly 26, no. 2 (1998): 97-108.
• Izod, John. "The Piano, the animus, and the colonial experience." Journal of Analytical Psychology 41, no. 1 (1996): 117-136.
• James, Caryn. "A Distinctive Shade of Dark.‖ Jane Campion’s The Piano. Harriet Margolis, ed." (2000): 174-176.
• Jayamanne, Laleen. "Post-colonial gothic: the narcissistic wound of Jane Campion’s The Piano’." Toward Cinema and Its Double: Cross-cultural Mimesis: 24-48.
• Jolly, Margaret. "LOOKING BACK? Gender, Sexuality and Race in The Piano." Australian Feminist Studies 24, no. 59 (2009): 99-121.
• Klinger, Barbara. "Contested Endings: Interpreting The Piano’s (1993) Final Scenes." Film Moments: Criticism, History, Theory (2010): 135-39.
• Klinger, Barbara. "The art film, affect and the female viewer: The Piano revisited." Screen 47, no. 1 (2006): 19-41.
• Molina, Caroline. "Muteness and mutilation: the aesthetics of disability in Jane Campion’s The Piano." The Body and Physical Difference: Discourses of Disability (1997): 267-282.
• Najita, Susan Yukie. "Family Resemblances: The Construction of Pakeha History in Jane Campion's" The Piano"." ARIEL: A Review of International English Literature 32, no. 1 (2001).
• Norgrove, Aaron. "But is it music? The crisis of identity in The Piano." Race & class 40, no. 1 (1998): 47-56.
• Pflueger, Pennie. "The Piano and Female Subjectivity: Kate Chopin’s The Awakening (1899) and Jane Campion’s The Piano (1993)." Women's Studies 44, no. 4 (2015): 468-498.
• Preis-Smith, Agata. "Was Ada McGrath a Cyborg, or, the Post-human Concept of the Female Artist in Jane Campion’s The Piano." Acta philologica (2009): 21.
• Reid, Mark A. "A few black keys and Maori tattoos: Re‐reading Jane Campion's the piano in PostNegritude time." Quarterly Review of Film & Video 17, no. 2 (2000): 107-116.
• Riu, Carmen Pérez. "TWO GOTHIC FEMINIST TEXTS: EMILY BRONTË'S" WUTHERING HEIGHTS" AND THE FILM," THE PIANO", BY JANE CAMPION." Atlantis (2000): 163-173.
• Sklarew, Bruce H. "I have not spoken: silence in The Piano." In Psychoanalysis and Film, pp. 115–120. Routledge, 2018.
• Taylor, Lib. "Inscription in The Piano." In Writing and Cinema, pp. 88–101. Routledge, 2014.
• Thornley, Davinia. "Duel or Duet? Gendered Nationalism in" The Piano"." Film Criticism 24, no. 3 (2000): 61-76.
• Williams, Donald. "The Piano: The Isolated, Constricted Self." Film Commentaries, CG Jung Page. Internet address (2013).
• Wrye, Harriet Kimble. "Tuning a clinical ear to the ambiguous chords of Jane Campion's The Piano." Psychoanalytic Inquiry 18, no. 2 (1998): 168-182.
• Zarzosa, Agustin. "Jane Campion's The Piano: melodrama as mode of exchange." New Review of Film and Television Studies 8, no. 4 (2010): 396-411.

Footnotes

1. Tied with Farewell My Concubine.
2. Tied with Rosie Perez for Fearless.
3. Tied with Janusz Kamiński for Schindler's List.

References

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3. Box Office Information for The Piano. 11 December 2013 at the Wayback Machine The Wrap. Retrieved 4 April 2013
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5. Frey, Hillary (September 2000). "Field Notes: The Purloined Piano?". Lingua Franca.
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12. Macklin, Robert (September 2000). "FIELD NOTES: The Purloined Piano?". lingua franca. Vol. 10, no. 6.
13. Heidi Ann Heiner. "Modern Interpretations of Bluebeard". Retrieved 12 April 2010.
14. Scott C. Smith. . Archived from the original on 12 October 2010. Retrieved 12 April 2010.
15. Child, Ben (8 July 2013). "Jane Campion wanted a bleaker ending for The Piano". The Guardian.
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18. Hinson, Hal (19 November 1993). "'The Piano' (R)". The Washington Post. Retrieved 3 July 2017.
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22. "The Piano Reviews". Metacritic. CBS Interactive. Retrieved 20 March 2018.
23. Groves, Don (29 August 1994). "Summer B.O. goes out like a 'Lion'". Variety. p. 14.
24. Young, John (24 December 2008). "Anna Paquin: Did she really deserve an Oscar?". Entertainment Weekly.
25. Dowd, AA (13 February 2014). "1993 is the first and last time the Palme went to a woman". The A.V. Club. Retrieved 3 July 2017.
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52. Piano [Blu-ray] (1993)
53. Machkovech, Sam (11 August 2021). "Criterion announces support for 4K UHD Blu-ray, beginning with Citizen Kane". Ars Technica. Retrieved 12 August 2021.

External links

 

Wikiquote has quotations related to The Piano.

• The Piano at IMDb
• The Piano at the TCM Movie Database
• The Piano at Box Office Mojo
• The Piano at Rotten Tomatoes
• The Piano at Metacritic  
• Roger Ebert's review 10 September 2012 at the Wayback Machine
• The Piano at Ozmovies