At the 2001 Cannes Film Festival, it won the Grand Prix, and the two leads, Huppert and Magimel, won Best Actress and Best Actor. It went on to receive positive reviews and other awards and nominations.
Erika Kohut is a piano professor in her late thirties at the Vienna Music Conservatory who resides in an apartment with her domineering elderly mother. Her late father had been a longstanding resident in a psychiatric asylum. Despite Erika's aloof and assured faade, she is a woman whose sexual repression and loneliness are manifested in her paraphilia, including voyeurism, sadomasochistic fetishes, and self-mutilation.
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At a recital hosted by the Blonskij couple, Erika meets Walter Klemmer, a young aspiring engineer who also plays piano, and who expresses admiration of her talent for classical music. The two share an appreciation for composers Robert Schumann and Franz Schubert, and he attempts to apply to the conservatory to be her pupil. His audition impresses the other professors, but Erika, though visibly moved by his playing, votes against him; she cites his divergent interpretation of Schubert's Andantino, and questions his motivations. Despite this, Walter is admitted as Erika's pupil. Meanwhile, another pupil, Anna Schober, struggles with anxiety while pushed by her own ambitious mother. When Erika witnesses Anna and Walter socialising, she slips to an empty coatroom and smashes a glass, hiding the shards inside one of Anna's coat pockets. This cuts Anna's right hand, preventing her from playing at the forthcoming jubilee concert.
Walter pursues Erika into a lavatory after she secretly injured Anna. Walter passionately kisses Erika, and she responds by repeatedly humiliating and frustrating him. She proceeds to give him a handjob before performing fellatio on him, but abruptly stops when he does not abide by her orders to be silent and to look at her and not to touch her. She tells him she will write him a letter regarding their next meeting. Later at the conservatory, Erika feigns sympathy for Anna's mother, with Erika saying only she can substitute for Anna in the upcoming school concert at such short notice.
Walter is increasingly insistent in his desire to initiate a sexual relationship with Erika, but Erika is only willing if he will satisfy her masochistic fantasies. She gives him the letter indicating acts she will consent to. He follows her home and reads the letter in her bedroom, but the list repulses him and he leaves. Later that night, Erika's mother is berating her while they lay in bed together for letting Walter in her bedroom in the middle of the night, when Erika suddenly begins kissing and groping her mother. Her mother resists and tells Erika she is unwell.
Erika finds Walter at an ice rink after his hockey practice to apologise. She begins to subjugate herself to him in a janitorial closet. Walter says he loves her and they begin to have sex, but Erika is unable to, and vomits while performing fellatio. Later that night, Walter arrives at Erika's apartment and attacks her in the fashion described in her letter. He locks her mother away in her bedroom before proceeding to beat and rape Erika, despite her pleas for him to stop.
The next day, Erika brings a large kitchen knife to the concert where she is scheduled to substitute for Anna. When Walter arrives, he enters cheerfully, laughing with his family, and flippantly greets her. Moments before the concert is due to start, a distraught Erika calmly stabs herself in the shoulder with the kitchen knife and exits the concert hall into the street.
The film is based on the 1983 novel The Piano Teacher by Elfriede Jelinek,[6] who won the 2004 Nobel Prize in Literature.[7] Director Michael Haneke read The Piano Teacher when it was published and aspired to adapt it to transition from making television films to cinema. However, Haneke learned Jelinek and Valie Export had already adapted a screenplay, a project aborted due to lack of investment.[8] Jelinek later abandoned hope for a film version before selling the rights to Paulus Manker, who asked Haneke to adapt the screenplay, though Haneke would not be the director. Manker did not secure a budget, so the producer asked Haneke to direct.[8]
Haneke had previously reached out to Huppert to star in his film Funny Games (1997), which she passed on for another professional conflict. When Haneke told her he would not direct The Piano Teacher without her, Huppert skimmed the screenplay and realized its potential.[9] She said she had studied piano as a child, quitting when she was 15, but began playing again for the film.[9] Eva Green has an uncredited role as one of Walter's friends.
For the scene in which Erika cuts herself in the bathtub, tubes and a pump were used for the false blood, which the props artist had to conceal from the camera under Huppert.[8] Huppert also wore a blood bag under her clothing for the self-stabbing scene, taken from the novel.[8] Benot Magimel studied piano during filming to convincingly simulate his playing scenes at the end of production, while the music is playback.[8] Susanne Lothar performed in German, but her lines were dubbed over with French in co-production.[8]
On the review aggregator website Rotten Tomatoes, 73% of 89 critics' reviews are positive, with an average rating of 7/10. The website's consensus reads: "Though it makes for rather unpleasant viewing, The Piano Teacher is a riveting and powerful psychosexual drama."[10] Metacritic, which uses a weighted average, assigned the film a score of 79 out of 100, based on 26 critics, indicating "generally favorable" reviews.[11]
Roger Ebert of Chicago Sun-Times awarded it three and a half stars, citing Huppert's confidence, writing on hints of revenge against The Mother character and defending the ending, saying "with a film like this any conventional ending would be a cop-out".[12] Peter Bradshaw of The Guardian credited Haneke for aptitude in creating "nerve-jangling disquiet" and Huppert for "the performance of her career".[13] David Denby of The New Yorker praised the film as "audaciously brilliant".[14]
In 2017, Los Angeles Times' critic Justin Chang recalled The Piano Teacher as Huppert's best work in a Haneke film, and "a major achievement in a disturbingly minor key".[15] Mick LaSalle of the San Francisco Chronicle described Huppert as "a rich incarnation of a woman we might see on the street and never guess that she contains fires, earthquakes and infernos", comparing it to her performance in the 2016 film Elle.[16]
The Piano Teacher won awards on the European circuit, most notably the Grand Prix at the 2001 Cannes Film Festival, with the two leads, Huppert and Magimel, winning Best Actress and Best Actor. The film was Austria's submission for the Academy Award for Best Foreign Language Film, but it was not nominated.[17]
Then I hit on the perfect solution. I offered parents of my students reduced rates if they would take care of my son and later my daughter too, while their child had lessons with me, at least until my husband got home from work. In later years, that became simply sitting with them in my sitting room, or garden and by the time my daughter was 7, and my son 9, I no longer needed student parents to step in as my kids had full access to me whenever they needed me but otherwise were happy in the next room.
I am a piano teacher now, and my mother was a piano teacher. She taught way too may hours and neglected her children because she was teaching. when I started teaching, my son was 17 years old, and expressed jeolousy over all the attention I gave other children.
I have had similar success with my baby helping at lessons. Even when I was pregnant, I asked my piano students to play a lullaby and make it smooth and quiet. I recorded it, for extra motivation, and then told them I would play it for the baby when she came.
I have a 4 month old and had to deal with same problem. For me, I work a 40 hour work week for my church, and then last year was teaching an additional 12 hours of piano a week. I taught up to the day before I had my baby girl, and luckily with her being born at the end of April, my students just got to start their summer break a little earlier. My studio takes a break over the summer, but if students are interested in continuing over the summer, I do teach a few hours.
This year a friend watched my baby girl so I could go back to teaching a few lessons in June. I made the decision before my baby was born that I was going to cut back my teaching this year so that I could be with her more. This year I am only teaching 4 hours a week and I hired another teacher to cover the hours I was giving up. I know for some that teaching piano is their only job and are unable to do that. Although it meant a huge drop in income, I decided that for me and my baby girl, that was the best option.
I had my first a year ago in September. I normally allow for a lot of flexibility in the summer. So I let them know that I was due in September and strongly encouraged parents to continue regular lessons through the summer since lessons would be postponed for 8 weeks in the fall.
The tip about planning way in advance is great. I lined up a substitute teacher option and had a Saturday where my students could come to my studio and meet the teacher. The parents could ask questions, etc.
I worry about how it will work when she gets older (2 or 3 years old), but I will figure it out. I mostly wait until my husband gets home from work to teach lessons. So I have a mix of after school lessons with the baby and evening lessons without the baby. It works for us right now.
OH! I also trade lessons for babysitting one day a week, which is awesome. I teach a one-hour lesson to a student and her mom takes the baby for all of my lessons that day plus one extra day a month so I can run errands. There are a lot of people willing to trade lessons for child care. 152ee80cbc