[GRAND PIANO
screens Saturday May 10th at 5:00 pm and Sunday May 11th
at 8:40 pm at the Cleveland Cinematheque.]
Review by Bob
Ignizio
You know there's
something wrong with the movie business these days when a stylish but
fairly straight-forward thriller with top notch production values and
a recognizable cast like GRAND PIANO finds itself relegated to
a 2 night only engagement at the Cleveland Cinematheque. That's not a
dig at the Cinematheque by any means. It's just absurd that such a mainstream film can only
find a theatrical home at a venue with a reputation as the place
where movies too uncommercial even for Cleveland's other arthouse,
the Cedar Lee, get played. That's without getting in to whether
the movie is good or not, since that's hardly a criteria
Hollywood takes into account when deciding what films
they'll be opening on 2000 screens on any given weekend.
But enough of my
editorializing. If you're reading this, you probably do care whether
or not GRAND PIANO is any good. And I suppose it is, at least up to a
point.
The plot concerns
virtuoso pianist Tom Selznick (Elijah Wood) playing his first concert
in five years. During that last performance, a moment of stage fright caused him to botch a
complicated piece, and it's still uncertain if Tom has regained the confidence that mistake cost him.
When Tom takes the stage, he notices a message
written on his sheet music threatening his life. Further messages
follow on each page, eventually leading Tom back to his dressing room mid-performance (during
a rest) where he finds a cell phone. On the other end of the phone, a voice (John Cusack) warns him that if he plays one wrong note,
he gets a bullet in the head. Any attempts to flee or alert someone
to his predicament, and Tom's movie star wife Emma (Kerry Bishé)
will be killed as well.
I'm going to give
a SPOILER ALERT here, although if you can't figure out within 5
seconds that the only other name actor in the film who has a
seemingly insignificant part is involved in the plot, you clearly
don't watch very many movies. With that out of the way, then, it soon
becomes apparent that the unseen mastermind has an assistant (Alex
Winter – yes, of BILL AND TED fame), and that these guys
aren't messing around. When a couple of audience members stick their
noses where they don't belong, the assistant takes them out with
extreme prejudice. It looks like Tom has no choice but to play the
concert of his life. At least he doesn't have to play the piece that
tripped him up before, right? Yeah, right.
The
plot is pretty ridiculous, but between Eugenio Mira's stylish
direction and the intense performances by Wood, Winter, and Cusack,
the film manages to make the convoluted motivations and leaps of
logic go down a bit easier. Mira's camera swoops and swings one minute,
then finds just the right way to frame a static shot the next.
Hitchcock and DePalma are the two most obvious visual influences, but
there's also a touch of Argento, and the overall feel of the film,
not to mention Damien Chazelle's implausible script, are highly
reminiscent of 1970s/80s giallo films.
Unfortunately,
Mira doesn't have the stomach for the kind of inventive murder set
pieces that were always a trademark of the giallo genre. Some critics
like Variety's Guy Lodge have praised this bloodlessness, but to my
mind it undermines the film. Everything about the film sets up
certain audience expectations, as when Winter picks up a shard of
broken mirror to do in one of the minor characters in a carefully set
designed room that's just begging to be painted red. It's hard not to
be disappointed when the scene cuts away early, though less
bloodthirsty viewers may feel differently.
Mira
clearly has the talent to be a first rate genre director; he just
needs better scripts to work from to reach his full potential, or barring that, a little more willingness to shock and horrify. The
fact that even with a script as shaky as GRAND PIANO
he still manages to deliver a reasonably engaging thriller proves
that. 2 ½ out of 4 stars.
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