SOURCE: "Shoot the Piano Player," in The New York Review of Books, Vol. XLI, No. 3, February 3, 1994, pp. 29-30.

In the following review, Kerr discusses the scenery, costumes, and narrative of The Piano, arguing that Campion creates an "immersion experience" rather than a dramatic narrative.

Several reviewers of her latest film [The Piano] have called Jane Campion a fourth Brontë sister. Campion, too, has dropped hints that this is where she got her inspiration. Attached to the book version of her screenplay, there is an appendix entitled "The Making of The Piano" in which she is quoted comparing "the kind of romance that Emily Brontë portrayed" to the perverse love affair in her film. This statement sent me paging through an old paperback of Wuthering Heights, where I came across a preface by Charlotte Brontë, an eloquent defense of her sister's novel written for the 1850 edition, two years after...