The Piano Tuner of Earthquakes
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Movie Reviews of The Piano Tuner of Earthquakes
Movie Review: Exquisite and charged dreamscape
Summary: 5 Stars
As a huge fan of the Quay's last excursion into live action filmmaking ("Institute Benjamenta") I was thrilled at the chance to see another feature from such richly textured imaginations. "Piano Tuner of Earthquakes" actually exceeded my expectations and then some. It's one of the greatest works of cinema I've ever seen.
The meanings inherent in this film come only partially through the plotline. Narrative in most commercial films is the most heavily weighted element (second behind star power). What we have here is a real work of art where every element is given loving attention. This is not a literal story, it is a symbolic dreamscape with sounds, textures, gestures, facial expressions, even down to the glint of light off a glass window giving a profound numinous charge.
Many viewers will find this wealth of detail overwhelming without being led by the hand with the conscious contrivance of conventional storyline. But here, the Quay's have perhaps been too compromised. Their tale is a little too clear and dialogue and voice overs too concerned with romanticized story telling (but that's my taste; I realize the general public prefers an even more linear presentation). Still this concession to popular taste doesn't detract from the essential power of it's imagery, which is considerable.
The sound design stands out as one of it's most imaginative features, as textured as the visuals. Very delicate and multi-leveled, there are some astonishing passages that rival any soundtrack I've ever heard. On the other hand there are a couple of themes that are too prominent (a Spanish-style melody played on electric guitar and a "Vertigo"-like love theme).
All together this film distills the essences the Quay brothers have been exploring throughout their career and presents these essences in a glorious ripened form of an adult myth. There's a palpable sensual power here of longings and obsessions that build to a thick swelling of contradictory passions. These conflicted subterranean passions lead to the final earthquake, an upheaval where the opera theater and it's players collapse inward.
This is NOT a film for everyone. The viewer must participate in deciphering; it's deeper meanings are not simply stated. It's a challenging experience and many will not want that in their film viewing. However, if you are intrigued by dreams and surreal imagery, you should definitely see this film, it stands among the greatest ever made!
Movie Review: Tedious and difficult
Summary: 2 Stars
The film, The Piano Tuner of Earthquakes is too murky to follow. Murky as to plot and scene. It is dark, obscure and one of those pretentious films critics love to tell the public merits intellectual energy and veiwer attention. Movie Review: Mechanical automata, life, and desire -- in this strange but lovely film by the Brothers Quay
Summary: 4 Stars
The second full length feature by the inimitable Brothers Quay, "Piano Tuner of Earthquakes" defies summary or comparison with other films. It was, I believe, shot on HD but the look in many shots is as delicate and textured as film -- and has live action combined with their trademark puppet based animation. Perhaps the easiest way to suggest the feel and approach of the film is to describe it as operating according to a "dream logic" -- and there is even a great line in the film when the piano tuner is discussing dreams with the doctor's assistant; she says, basically, that to think you can understand the meaning of a dream by interpreting its objects as symbols is like believing you can tell the contents of a letter from the sound of the postman's knock -- with the added qualification that you may in fact decipher something from how loud and how long and how urgently he knocks. Still, this is a direct hint from the filmmakers that there are no simple meanings here. The basic plot can be described with relative ease (and to tell it doesn't give anything away because the film is not really about plot but about textures, rhythms, sounds and movement): a famous opera singer is abducted and murdered on the night before her wedding by the "evil" Dr. Droz, a maker of living mechanical automata, who plans to bring her back to life and incorporate her into his ultimate and final automata, one that will recreate her abduction and death; as collaborators and participants in his project he has several apparently insane gardeners, a jealous assistant who resembles an older version of the opera singer, and a skilled but naive piano tuner who resembles the fiance of the opera singer. What such a "synopsis" fails to capture is the strange ambience and style of the film throughout, and doesn't shed much light on "what it all means." Is the Doctor a kind of god? Or is he like the filmmakers themselves? Is the beginning of the film already part of the automaton? Are the filmmakers comparing the film itself to a kind of self-contained automatic world? What is the meaning of a strange story the Doctor tells about ants and spores, a story whose components figure later in the film? To what extent are we all, insofar as we find ourselves inexplicably driven by passions we didn't choose, like the ants in the story (don't ask, if you watch the film you'll see what I mean)? What is the significance of the final scenes? Lots of questions, and you can certainly come up with some interesting answers if that is your thing -- but if you like your answers hard and fast, or if you like your films straightforward and easy to follow, or if you want to know what is going on at all times, or if you'd be bugged by all the characters for whom English is a second language speaking slowly almost as if under hypnosis themselves, and if you can't just succumb to a film as if it were a strange dream (which is what this film most resembles) and let it wash over you and think about it later (as you would have to do with films by David Lynch or Peter Greenaway or others who work in a similar vein) then this is not the movie for you. Otherwise, and especially if you like the films of those I just mentioned, or works by filmmakers like Bunuel or Svankmajer or even Matthew Barney, then this one is definitely worth a look. Just don't expect it all to make sense at once.
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