GenreBased Media Reviews

The other story events and narrative upon which he focuses is on the underlying motifs of the film – the Victorian narrative, and how the film has mystery, fear and exoticism at its core.
The other conventions that Ebert focuses upon, besides narrative and plot, is cinematography. He notes that the movie is mainly set in the dark, which is accurate, as the picture had an overall grey look to it. He also notes a shot that comes towards the end of the film, although he does not specifically describe the shot, because it would be giving it away. However, the way that he describes the shot is evidently the frames where Ada falls off the boat and almost drowns, because her foot is tied to her piano. He rightly notes that this shot seems like a dream, and he exquisitely details how the cinematographer shot this scene, frame by frame.
While Ebert correctly focused upon the cinematography of this film, in that this was the most striking part of the film, and the most memorable, because the cinematography set the mood, he did not evoke the most obvious convention in this film – the music of the film. There were two conventions of this film which worked together to provide the overall atmosphere of the film – the cinematography and the music. The music plays throughout the film, and the music is literally what brings Ada and Baines together. The music is much more than a background to the action – it was the action, and it was literally Ada’s voice (Kelly, 2001). Ebert did not mention this aspect, and this made his review lacking.
Glieberman’s review rectified this. He spends a great deal of time talking about the music, rightly noting that the music is powerful, dramatic and beautiful. He also rightly notes that, for Ada, the piano and the music that she plays is her voice. He also interestingly notes that the muteness of Ada, coupled with Ada finding her voice through