Monday, March 13, 2017
Grand Piano is a 2013’s film with Elijah Wood, that is supposed to rum over a McGuffin; that's a plot that justify the drama, no matter its absurdity and relative small dimensions. This kind of work is part of a cult to Alfred Hitchcock, who is still the master of this dramatic technique; but here should be where the problem lays, in this cultic sense. Actually Hitchcock is still the master because he doesn't make a cult but a film, always a film; that's why its job is still perfect to the point to be a cult's object; contrary to its followers, who only actualize the cult but are incapables to stablish a new one.
We couldn't argue the plots on Hitchcock works, its sense is only to provoke the argument and not to sustain it; that's why no matter how absurd, it's always sufficient and artistic with only showing its magnificence. In Grand Piano is the other way around, because it's a cult and not an object worthy of cult; and that explain the weakness of the argument, with an absurdity after the another, while repeating operatic stereotypes. Critics mostly agree about this problem, though also coincides on its supposed mastery and stylish; just because Hitchcock, but If I were Hitchcock I'd curse all them.
The critics also coincides praising the performance of Elijah Wood, who’s character apparently sustain the plot; but this prize most go to the director and the camera, because poor Elijah only open his eyes to remember us his work in The Hobbit, that is. Is the camera what manages to retain people on the watch, because the vertigo of its panoramic; also recreating scenarios so majestic that remind us about the dramatic theatrical dramatically of the big aesthetics pretentions.
Also paradoxically, and more than that majestic photography is the music the real power behind the film; with the credit on Victor Reyes, a veteran in film music, and who wrote the musical piece that center the drama. The piece is named La cinquette, and is a pure mannerism to resemble a classic avant-garde; its references are the Rachmaninoff’s Piano concert no. 3, known as the infamous for its challenges. Part of the drama is the relation between the public, the masters and the music itself; that’s what make this piece so important, so magisterial that the music is sold by itself. Paradoxically, this could be the virtue of the film, although negative and in a twisted; because it proves perfection has nothing to do with the arts and snobbism may pay the bills, but overrating stuff.