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03 Dec

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Movie Title: The Piano Teacher
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When I first heard about Michael Haneke’s “The Piano Teacher”, about a sexually repressed instructor at the Vienna Conservatory, I idea it was exactly the kind of movie I didn’t want to glance. In a world awash in pop music, South Park and Britney videos, how could a film about the stultifyingly uptight classical music world have *any* relevance for a post-modern, post-everything film buff (even if he is American? ) Didn’t Bergman tread this ground 40 years ago? Didn’t Bunuel effect savage fun of the hypocrisy of bourgeois sexual respectability in “Belle de Jour” (1966)? Wasn’t Haneke a petite tedious the times?

Walking – or I should say staggering – out of the theater 2.5 hours later, I was humbled by the scope of Haneke’s and Huppert’s achievement. Rarely have I seen a film both so clear-eyed about sexual psychosis and yet so compassionate as well. Isabelle Huppert, who probably wasn’t nominated for an Oscar only because the film can be so off-putting to some, gives what can only be described as an intense performance. Her clenched face and the darting movements of her eyes disclose more about her character – her inner rage, her self-hatred – than most actors can conclude with sheets and sheets of dialouge. That’s the essence of the film, everything is very formally *controlled* – so that when violence, self-inflicted or otherwise, breaks out, it is startling because it emerges from such as civilized veneer.

If the point of the film were to prove the High Culture spiritually deforms those who recall in it (and I don’t deem it does), the film would have minimal interest. High culture has been on the defensive so long, it doesn’t need to be blamed for driving Isabelle Huppert nuts as well. Rather the film gains its strength from watching a seriously damaged human being – damaged in ways only suggested at – execute a protective cocoon around herself that fails to protect her from troublesome feelings and desires. The film is somewhat similar to Neil Jordan’s mammoth film, “The Butcher Boy” whose protagonist uses an opposite strategy – relentless safe cheer -to hide the absolute misery he’s sinking into. In these two films, as well as other novel films like Noe’s “I Stand Alone”, Nyutten’s “L’Humanite”, Haneke’s other modern film “Code: Unknown” and Tim Roth’s “The War Room”, European filmmakers are portraying contemporary Europe as a society rife with cultural and psychological malaise – along with a gigantic uncertainty as to ability of others to ameliorate the misery that man hands to his fellow man.

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“The Piano Teacher” is considerable – primary even – not because Isabelle Huppert is asked to do things on camera few major actresses would willingly agree to. The film gets suitable to the sad heart of our contemporary malaise – our declining faith in the ability of culture – or anything – to ease us out of our despair and mitigate the cruelty we often view around us. The film is extremely distributing, enraging but not empty – it was the most keen section of cinema to be release in the US last year.

The Piano Teacher shows us a few days in the life of a shrinking woman who is both victim and victimizer. Isabelle Huppert briliantly plays the fraction of Erika Kohut, a middle-aged piano teacher at a music college in Vienna. Annie Giradot is no less effective as her domineering and watchful mother. The two women abuse one another physically and verbally. This relationship is long standing and comes to a crisis as the film progresses.

Erika is unable to smash the bonds that assign her to her mother. Instead, like a child who has never grown up, she wants to please her mother, but is driven to act out her enjoy fantasies secretly. Her mother appears to be unaware of the deep seated repression that is entertaining her daughter. What she does eye is an mad, hateful person who lies to her and deceives her frequently.

Erika’s sexual frustration takes the create of physical and pschological self-hate. She visits porn shops to degrade herself and she mutilates her body to distract her from the intense psychological harm she suffers constantly.

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At school her arouse takes the make of verbal abuse to her students who are unable to finish the artistic integrity she demands. What appears to be an inflated sense of her absorb importance as an artist masks her frustration at being second-rate. She is not obliging enough to be recognized as an artist in her maintain true. Her hatred of herself and her inadequacy as an artist prompt her to strike out at students and colleagues alike.

Into her seething cauldron of despair comes a young engineering student, Walter Klemmer, wonderfully played by Benoit Maginel, who wants to see Schubert with her. At first she refuses him, but pressure by the school to get him forces her to work with him. The sexual tension between teacher and pupil is immediately apparent and moves forward to a collision some reviewers have likened to a awful car accident.

In the raze we peer Erika and her student reduced to the lowest accepted demoninator as human beings. At first Erika is successful at dominating her young student, but the tables are turned as she becomes dependent on him. Both teacher and student are playing a zero sum game to lose. The final climax and its denoument leave Erika a wounded, broken woman.

The director, Michael Haneke, elicits finely tuned performances by all the players, particularly Huppert, who is pleasing in the title role. Haneke has made this film for adults only. It is sunless and disturbing from beginning to ruin with moments of hurt and violence that are as staunch as anything one is likely to view on the hide.

Huppert as the piano teacher has no redeeming qualities we are able to contemplate in the short station of time covered by the film. Viewers looking for a favorable and valid entertainment are urged to search elsewhere. Haneke shows us a dusky side of life and he is unflinching in its portrayal.
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