The Piano Tuner of Earthquakes
2005
Directed by the Brothers Quay
Written by Alan Passes
Cinematography by Nick Knowland
Edited by Simon Laurie
Music by Trevor Duncan & Christopher Slaski
Produced by Terry Gilliam, Keith Griffiths, Hengameh Panahi, Alexander Ris
Starring Amira Casar, Gottfried John, Assumpta Serna
Watching the second feature film by the Brothers Quay often conjured images of Renoir's Last Year at Marienbad (itself loosely based on The Invention of Morel), and the ambiguity that accompanied it.
There does seem to be a slight narrative thread throughout the film, but it always seemed little more than an afterthought. Similar to Jan Svankmejer's work where the literature that his films reference are chiefly used as backdrop for his brilliant stop-motion animation. With this film however, there isn't a strong thread of plot throughout the film. There is a basic plotline, but it's not skillfully adhesive and rather feels like a hodge podge of visual scenarios than anything substantially linear.
Essentially the film begins with the apparent murder of a renowned opera singer, Malvina van Stille, by an inventor named Dr. Droz, who steals her corpse set on resurrecting her and forcing her to replay her death in an opera. Dr. Droz hires a piano tuner (apparently, either there's no specialist in existenace to calibrate the machine, or its assembly is similar to that of a piano) Felisberto, to calibrate the machine which will somehow make all of this possible.
For me, the film seemed intentionally obscure (at least I'd hope it was intentional...) so that once the story attempts to incorporate elements of amnesia, the afterlife, and a strange subplot hinting at the possibility of a twin or immortal lover (or, more likely, simply a similar resemblance).
Which leads us to the character of Felisberto which frustrates me more than anything in the film because he is given very little motivation (or reward) in this task as "piano tuner of earthquakes" and yet he presses on as if his life depended on it (perhaps it does, but this is never brought out in the film). There is, of course, the rudimentary love interest subplot (with various images of sexual symbolism scattered throughout) which just seems to complicate the plot unnecessarily - or, if indeed it was considered essential by the Quays, they should've gone into it a bit more.
Perhaps someone somewhere can come up with a definitive explanation for everything that happens in the film, but I couldn't. Nevertheless, the film is enjoyable, if for nothing other than the beautiful (in a dreamy, industrial way) look and the stop-motion animation which is sublime. So, really, the story isn't integral to enjoying the film and apparently the Quays held the same opinion. Best just to sit back and marvel at the impenetrable creativity.
There does seem to be a slight narrative thread throughout the film, but it always seemed little more than an afterthought. Similar to Jan Svankmejer's work where the literature that his films reference are chiefly used as backdrop for his brilliant stop-motion animation. With this film however, there isn't a strong thread of plot throughout the film. There is a basic plotline, but it's not skillfully adhesive and rather feels like a hodge podge of visual scenarios than anything substantially linear.
Essentially the film begins with the apparent murder of a renowned opera singer, Malvina van Stille, by an inventor named Dr. Droz, who steals her corpse set on resurrecting her and forcing her to replay her death in an opera. Dr. Droz hires a piano tuner (apparently, either there's no specialist in existenace to calibrate the machine, or its assembly is similar to that of a piano) Felisberto, to calibrate the machine which will somehow make all of this possible.
For me, the film seemed intentionally obscure (at least I'd hope it was intentional...) so that once the story attempts to incorporate elements of amnesia, the afterlife, and a strange subplot hinting at the possibility of a twin or immortal lover (or, more likely, simply a similar resemblance).
Which leads us to the character of Felisberto which frustrates me more than anything in the film because he is given very little motivation (or reward) in this task as "piano tuner of earthquakes" and yet he presses on as if his life depended on it (perhaps it does, but this is never brought out in the film). There is, of course, the rudimentary love interest subplot (with various images of sexual symbolism scattered throughout) which just seems to complicate the plot unnecessarily - or, if indeed it was considered essential by the Quays, they should've gone into it a bit more.
Perhaps someone somewhere can come up with a definitive explanation for everything that happens in the film, but I couldn't. Nevertheless, the film is enjoyable, if for nothing other than the beautiful (in a dreamy, industrial way) look and the stop-motion animation which is sublime. So, really, the story isn't integral to enjoying the film and apparently the Quays held the same opinion. Best just to sit back and marvel at the impenetrable creativity.
Rating: * * * * (Four stars out of six)
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