“Grand Piano” is a clean and strain filled practice in dread that takes arrange alarm to strict extremes. Put something aside for a couple brief opening recesses on board a plane assailed by turbulence and an arrangement inside a limo, the whole venture happens in a Chicago symphonic corridor amid a musical execution.
Spanish executive Eugenio Mira has recognized his obligation to the cymbal-banging peak in Alfred Hitchcock’s “The Man Who Knew Too Much”. In any case, there is a luxurious shocking sensibility sneaking also, from the clearing camera choreography to the workmanship deco style aficionado of dark red in the midst of gold and dark that structures the stage setting. Consider it a malicious mix of Brian De Palma and Dario Argento by method for “The Phantom of the Opera”.