Recasting 1993: "The Piano"

1993 is probably one of the strongest years for lead actress performances on film in memory. Three of the four roles nominated for an Academy Award were those that Meryl was at least vaguely connected to in some way (The Remains of the Day, Shadowlands, and Six Degrees of Separation). I included those three films in my reimagined history of roles for which I wish Meryl had ultimately ended up doing. 

But what of the role that actually won that year? Holly Hunter's widely acclaimed performance as a mute Scottish woman sold into marriage in New Zealand pretty much swept the awards circuit that year, in a way I don't think I'd ever seen nor have since. Helen Mirren came close for 2006's The Queen, but Hunter really swept. Oscar, BAFTA, Golden Globe, (there were not SAGs yet), Cannes, critics bodies for L.A., New York, Chicago, National Board of Review, National Society of Film Critics, and London. Considering that she was up against great performances by Emma Thompson, Stockard Channing, Debra Winger, and Angela Bassett, it's easy to say it was a stunning portrayal. 

I bet Sigourney Weaver was probably kicking herself at the time. She was director Jane Campion's first choice for the role, but declined it, apparently saying she was "taking a break from acting." Weaver's consideration is something that actually helped me picture Meryl in this role, as the two are only a few months apart in age. It therefore doesn't seem like that would've been a reason Meryl couldn't have slid into the part. Plus, her co-stars would've been Harvey Keitel (ten years older) and Sam Neill, whom she's already starred alongside in 1988's A Cry in the Dark.

The film depicts Ada and her young daughter, Flora (portrayed by Anna Paquin in her Academy Award-winning performance), as they're dropped off on a beach in New Zealand in the mid 19th century. Ada is essentially sold into marriage by her father to Sam Neill's character, Alisdair. Ada is mute "by choice," and can hear just fine, but hasn't spoken since she was a child. Flora serves as her interpreter. Alisdair sells Ada's piano to a forrester, Baines (Keitel), and Ada is furious. Baines is willing to give it back to her by "exchanging" a certain number of piano keys for what amount to sexual favors. Ada eventually falls for Baines and the two have an affair. Alisdair eventually learns of it and (spoiler) chops off one of Ada's fingers. It all turns out OK for Ada and Flora in the end, as they leave Alisdair and end up with Baines in a different part of New Zealand. 

Wow. It's an intense and beautifully filmed movie. This is a good example of one of those "risky" roles we don't necessarily see Meryl do. The nudity might have turned her off to the project, but the opportunities for emoting when you aren't able to speak! Meryl has a limitless treasury of facial expressions from which to draw. This seems right up her alley (although Hunter does have a short voice over with a Scottish accent). 

The film was almost universally praised upon its release. It won the Palm d'Or for Campion at the Cannes Film Festival. She was also nominated at the Academy Awards for director and Best Adapted Screenplay, winning for the latter. It's so rare we get female directors, much less those who direct Best Picture nominees. I truly wonder if the only way Meryl can put herself in a position to win another lead Oscar would be if she were to connect with an auteur director on a picture with really tricky or sensitive subject matter. It's maybe the last territory we've yet to see Meryl traverse. Something we'd normally expect Isabelle Huppert to be in, for example. I don't blame her for her choices though. She knows her strengths, and maybe, just maybe, she believes she has limits to what she can effectively convey on screen. 

I say "try me."