Shine

This movie is definitely in my top five favorite movies of all time. It is unbelievably brilliant. Geoffrey Rush, dare I say, is perhaps the greatest actor of modern times. His performance alone is worth watching, let alone the outstanding supporting cast! Definitely not in typical Hollywood fashion, the movie is a truly great indie film. A must see for music lovers and indie film lovers alike.

This is a good film in every sense but will mean most to fathers with strong views :).

The story of a brilliant young pianist whose relationship with his father drives him to some sort of mental illness. Watchable, absorbing, brilliantly edited, deeply seriously moving, one of the rare films that pays attention to incidental sound. Wonderful direction and acting. This is a seriously good film.

"Shine" purports to tell the story of David Helfgott (Geoffrey Rush, who plays the adult Helfgott), a promising pianist who overcame mental illness, with the help of his wife, and returned to performing.

The 1996 film is actually a fictionalized version of Helfgott's life - but even had it not been based on a true story, it remains a powerful, intriguing film.

David is the child of German émigrés who now live in Australia. His father Peter (Armin Mueller-Stahl) is a self-taught pianist who teaches David his same love of piano and classical music. There is love there, but as portrayed in the movie, Peter is a rigid man who gives his son mixed signals. He drives his son to succeed as a pianist, teaching him that winning is everything, and yet, when David has opportunities that would take him away from the family, Peter won't permit it. The reason for this is that Peter and his wife lost relatives in the Holocaust. Peter is also given to physical abuse toward David when he loses his temper.

David finally gets away from him and attends the Royal Conservatory in London, where, with the help of his teacher (John Gielgud), he wins an important competition but then suffers a severe nervous breakdown. The rest of the movie deals with the road back, which leads him home to Australia and to his wife, Gillian. Gillian is actually his second wife, though the first marriage isn't mentioned in the film.

The dominant performances belong to Rush and Mueller-Stahl. Rush does a brilliant job of showing us the likable but stuttering David who speaks rapidly and repetitively, expressing himself through music. Mueller-Stahl as the tortured Peter is fabulous, a man who is both monstrous and pitiable. In a small role, John Gielgud of course makes a fine impression as an elderly teacher, a wonderful pianist himself, who believes in David's talent.

The best scene is David playing Rachmaninoff's Piano Concerto #3 - Helfgott's own recording of the piece is used - and the aftermath. What I missed in this film is music - there was a lot of talk about David's promise, but until the Rachmaninoff not much playing.

Helfgott's work today has been deeply criticized for being - well, lousy. A review in The New York Times of one of his concerts is horrible. The reviewer, however, mentions that Helfgott occasionally showed vestiges of excellent technique. I think it's safe to assume that his playing nowadays is more erratic than it was in his earlier years. There are several examples of Helfgott's playing in the movie: "La Campanella," "Hungarian Rhapsody No 2 In C Sharp Minor," "Flight of the Bumble Bee," Rachmaninoff's "Prelude In C Sharp Minor, Opus 3, No. 2," the previously mentioned Rachmaninoff 3, and Liszt's "Sospiro," and it is all quite stunning. Rush does the fingerings himself. One of the comments also claims that Helfgott's wife has Helfgott perform on no medication so that he'll seem crazy - it's common for performers on medication for mental problems to have to cycle off of it before performing. I don't think the commenter has any idea what Helfgot is like on his medication - certainly in the film, he acts strangely.

"Shine" is highly recommended for its fantastic performances, beautiful music, and its inspiring story.

Okay, so I did some reading after this driven by idle curiosity about the account. The real Helfgott didn't spend 15 years abandoned in a room with a piano, he didn't have to stand in the rain outside of a bar before they would let him in. He was pretty well known in the local scene as a pianist, his father was not a Holocaust survivor and David had been married before. Father and son were never really estranged and David was present at his funeral.

But just the same, the 'objective' point-of-view that purports to explain him, or any of us at any time based on a few facts, is in the end no less hypocritical than any attempt to pass dramatization as 'the real story'. This matters. Someone can be present at a funeral without being truly present, and someone can feel forgotten and alone even when they're factually surrounded by people, estranged from a parent even when formally this was never so.

The film is at a simple emotional level where the attempt to conquer a maddening complexity (music, life) snaps the tethers of mind and in due time the reconfiguring of this damage into blossoming art. The moral is that we must keep trying and hope for the best, perhaps the worthiest lesson even if it appears slightly trite in the context of a more or less happy ending.

Still, why feel the need to invent all those things, knowing you are doing so? When the violence inflicted on the son could be inferred by a more ambiguous tension instead of an outright beating.

Because, it seems, we can only choose to accept the lesson if at the center we find a good soul worthy of the saving. In other words, it is not the fact that he gives a great last recital that matters, but that he plays at all; not that a genius was salvaged because he might never have been that, but a human being. And this is what rankles so much Helfgott's critics who find him borderline incompetent in his playing - he is cheered on in concerts because he is the character from this film.

Ideally we would be able to discern all these points here instead of one harmony: the truly damaged but kind soul, the inability to place blame for that damage on any ogre father or Holocaust, and being able to somehow experience his music (the real Helfgott recorded for the film) as a trained ear would, fixated flourishes followed by distraction and incompetence according to critics, musically extending the damaged self.

For a more demanding film on the same subject of madness and transcendent musical genius see a little known film on a medieval composer called Death in Five Voices: all about the dissonance between different voices trying to harmonize a story and this carried in the music itself.

When I originally saw this film in the mid-90's, I was absolutely devastated throughout the first forty-five minutes. So much so, I was pretty much uncontrollably weeping, much to the chagrin of the friend I went with. Time has softened the film a lot for me, but it still remains a powerful, tender and somewhat inspirational film about a piano prodigy who has led a pretty tragic life. Geoffrey Rush is unbelievable as the piano prodigy David Helfgott, and although the film is kind of sewn up a little quickly with the Vanessa Redgrave subplot (what about Helfgott made her so in love with him in a short period of time as to want to marry him?) it is a very well done film that I highly recommend to just about anyone, but especially musicians and music lovers.

--Shelly