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“... Why are we being compelled to think about how male pianists speak? King Vidor’s A Song to Remember (1945) exerted no such pressure. Nor did Max Ophuls’s Letter from an Unknown Woman (1948). Yet, while Jane Campion’s The Piano (1993) presented a woman incapable of speech, François Girard’s Thirty-Two Short Films about Glenn Gould (1994) presented a man who was abnormally articulate – one who in the 22nd film, for example, rehearses the revealing personal ad: ‘Friendly, companionably reclusive, socially unacceptable, alcoholically abstemious, tirelessly talkative, zealously unzealous, spiritually intense, minimally turquoise, maximally ecstatic loon seeks moth or moths with similar equalities for purposes of telephonic seduction, Tristan-esque trip-taking ...”