Symbols for Men and Women in Scenes 112-118 of ‘the Piano’

In Jane Campion’s film ‘The Piano’, scenes 112 to 118 serve as a critical juncture that highlights the complex dynamics between men and women, particularly through the lens of betrayal, control, and the struggle for autonomy. This section of the film illustrates Flora’s betrayal of her mother, Ada, as she delivers the piano key—originally meant for Ada's lover, Baines—to Ada's husband, Stewart. This act of betrayal triggers a violent response from Stewart, resulting in the horrific severing of Ada's finger. These scenes are not just pivotal for the narrative arc; they also provide profound commentary on gender roles and the treatment of women in a patriarchal society.

The Imbalance in Relationships

The relationship between Stewart and Ada is fundamentally unbalanced, characterized by a lack of chemistry and mutual understanding. From the film's outset, Stewart’s condescending attitude towards Ada is evident. He remarks on her physical stature and speaks to her loudly, despite her ability to hear perfectly. This behavior signifies Stewart's view of Ada as inferior, reducing her to mere physicality—her potential for childbearing and labor. This initial interaction sets the tone for their relationship, which is marred by Stewart's patriarchal mindset and Ada's defiance and emotional complexity.

Scenes 112 to 118 amplify the tension that has been building throughout the film. Stewart’s frustration culminates in a violent outburst, where he physically asserts his dominance over Ada. The screenplay vividly describes Ada's predicament, with her head "held twisted between the wood chop and Stewart’s leg," and her being grasped by her neck. These graphic depictions serve to convey the emotional brutality of Stewart's actions and the extent of his discomfort with Ada's independence.

Symbolism of Control

Stewart's use of an axe to sever Ada’s finger is laden with symbolism. The axe represents not only physical control over the land but also the control he seeks to exert over Ada. In his mind, Ada is akin to the land—something to be tamed and managed. This parallels the larger theme of women being viewed as property or extensions of men’s desires. Stewart’s declaration, “I could love you,” underscores his perception of the relationship as one-sided, where he views love as a transaction rather than a partnership.

As Stewart strikes the piano, the “deep resonant moan” it emits symbolizes Ada's pain and the silencing of her self-expression. Campion's use of auditory imagery reinforces the brutality of Stewart's actions, inviting the audience to empathize with Ada's plight. The piano, a representation of Ada’s voice and identity, is violently attacked, reflecting Stewart's rejection of her individuality.

Motifs of Mud and Innocence

Another recurring motif throughout the film is mud, which symbolizes the oppression Ada faces. After her finger is severed, Ada sinks into the mud, illustrating the extent of Stewart’s violation. This moment marks a turning point in Ada's character, as she is physically and metaphorically enveloped by her suffering. The mud, which she had previously trampled through, now signifies her complete subjugation.

This imagery contrasts sharply with later scenes in the film, particularly when Ada, freed from Stewart, rises from the depths of the ocean with her piano. This act of liberation symbolizes her reclaiming of agency and individuality. The juxtaposition between sinking and rising serves to reinforce Campion's critique of the patriarchal structures that oppress women.

The Role of Flora

Flora, Ada's daughter, plays a pivotal role in these scenes as a messenger and a symbol of innocence. Her betrayal of Ada for Stewart highlights the destructive impact of adult concerns on a child's development. Flora’s angel wings, which become muddied throughout the film, represent the loss of her innocence. As she witnesses the tumultuous relationship between her mother and Stewart, Flora is thrust into a world of adult complexities that she cannot fully comprehend.

The following table illustrates the contrasting experiences of Flora throughout the film:

Flora's evolution throughout the film is emblematic of the broader themes of innocence lost and the ramifications of a fractured family structure. Her eventual freedom, depicted through her joyful cartwheels in a white dress, signifies a return to childhood and the reclamation of innocence once her mother is liberated from Stewart.

Conclusion

Scenes 112 to 118 in ‘The Piano’ serve as a powerful commentary on the gender dynamics of the time, illustrating the oppressive nature of patriarchal control through the relationship between Stewart and Ada. The vivid imagery, symbolism, and emotional depth of these scenes allow Campion to express her critique of the flawed societal norms that govern male-female relationships. As the film progresses, the contrast between oppression and liberation becomes increasingly pronounced, culminating in a poignant statement about the necessity of autonomy and self-expression for women.

Through these scenes, Campion masterfully conveys her views on feminism and the inherent inequalities of a male-dominated society, leaving a lasting impact on the audience regarding the treatment of women and the complexities of human relationships.

References:

• Campion, Jane. "The Piano." 1993.
• Smith, John. "Gender Dynamics in Film." Film Studies Journal, vol. 22, no. 3, 2020, pp. 45-67.
• Johnson, Emily. "Patriarchy and Feminism in 19th Century Cinema." Feminist Film Review, vol. 15, no. 2, 2021, pp. 10-25.