Review of Shine

A repertoire of Australian talent that Shines...

"In this world only the strong survive. The weak get crushed like insects."

Shine is a deceitfully straightforward and disposable title for an unreservedly amazing motion picture. This low-budget Australian feature illuminates the strength of the human spirit and the triumph of the heart as it depicts the tremendous courage of a troubled individual. The story it conveys is incredibly poignant - a young man driven to breaking point by his father, and defying his father's wishes in order to pursue his dreams. Provocative, enthralling and potent, Shine offers a tale of insurgence and individuality through the eyes of a pianist whose sole form of self-expression is in the ivory keys of a piano. Shine may superficially appear uninteresting and depressing - yet, quite simply, it's anything but. Writer-director Scott Hicks' biopic is an astonishingly well-made saga of triumph over adversity and the destructive power of love that's compelling viewing; leaving no emotional chain unyanked.

At the Sundance Film Festival of 1996, Shine was among the hottest properties being offered. This unforgettable tour de force ignited a distributor bidding war between Harvey Weinstein of Miramax and Bob Shaye of New Line. Upon its eventual theatrical release, Shine was acclaimed by critics and movie-goers alike. Despite its low-budget origins, this film was among the must-see movies of 1996. It earned 9 AFI (Australian Film Institute) Awards, including those for Best Picture, Best Actor (Geoffrey Rush) and Best Supporting Actor (Armin Mueller-Stahl). Noah Taylor was additionally nominated for Best Actor, competing against Rush.

Astonishingly, Shine even reached the Academy Awards! Geoffrey Rush received the Oscar for Best Actor for his memorable performance as the mentally unstable adult David. The film was nominated for additional Oscars - Best Picture, Best Director (Scott Hicks), Best Supporting Actor (Armin Mueller-Stahl), Best Screenplay, Best Editing and Best Music. Although it only gleaned a single Oscar at the ceremony...for a little Aussie movie it's extremely impressive nonetheless. On top of this, it also acquired an incalculable amount of prestigious awards worldwide. This includes awards at the BAFTAs and the Golden Globes (Rush continually won Best Actor). After viewing the first frame of Shine, it's already obvious why it garnered so much acclaim. This is a testament to the glorious filmmaking in all departments.

The film is a fictionalised account of the life of Australian pianist David Helfgott. Shine chronicles David's life from childhood (played by Alex Rafalowicz), through to adolescence (Noah Taylor), and onwards to adulthood (Geoffrey Rush). David's father, Peter (Mueller-Stahl), is a Polish Jew who settled in Australia following his devastating experience during the Holocaust. The anguish of losing loved ones impels Peter to keep his family together at all costs, and his drive to teach David music from a young age is a direct reaction to his own father's dislike of music. As a little boy, David is a child prodigy who shows phenomenal promise. After performing at a school recital, music teacher Ben Rosen (Bell) notices David's obvious talent and offers to teach him. As an adolescent, David wins several competitions and is offered a scholarship for the Royal College of Music in London. Even despite his father's pungent objections, David departs for London...and Peter summarily disowns his son. In London his brilliance flourishes, and he opts to attempt a notoriously difficult piece of music. The cumulative pressure overwhelms David, and after playing a perfect rendition of Rachmaninoff's Third Concerto he suffers a mental breakdown. Ten years on, David resides in mental institutions who frown upon the piano in fear of a relapse. An unlikely romance eventually brings stability, and through several twists of fate (more unlikely than those told in the film) he makes his return to the concert stage.

Gillian: "How do you feel?"
David: "I'm shocked, stunned and amazed."

In 1986, Scott Hicks read a newspaper story about David Helfgott - a pianist who performed a flawless classical catalogue at a Perth restaurant. Hicks' interest was immediately ignited, and he arranged to witness Helfgott in concert. For the majority of the following year, Hicks worked to earn Helfgott's trust with the goal in mind of committing his story to celluloid. Jan Sardi's screenplay was admittedly fictionalised to an extent, in fact Hicks is emphatic Shine is not a straight biography despite including real people and events. Although it'd be interesting to behold a more faithful telling of David Helfgott's life & career, Shine is 1996's most stirring and inspirational movie. The decidedly inaccurate story is both powerful and affecting. It's riveting from the first frame 'til the last, which is a combination of the wonderful script, the engaging performances, the focused direction and the banquet of striking locations. The passion for the music incessantly clattering around in David's head fuels the film. Handsomely photographed concert scenes are bequeathed with the energy of a shootout in a John Woo picture. It's pianist vs. music in a contest of wills, and this is embodied by swirling, dizzying camera work.

Sardi and Hicks elected to tell the story of David Helfgott in a non-chronological manner. While the structure isn't totally jumbled - ala Pulp Fiction - the film is predominantly told through flashbacks. This bestows the movie with a unique dynamic. Fortunately, there is no voice-over narration - the proceedings speak for themselves without the support of a disembodied voice adding "valuable" comments. Those behind the camera have made few, if any, mistakes with Shine - and the fashion of its unique presentation is just one example of a perfect creative decision.

Love can flaunt various different faces, and Shine illustrates two of the most extreme. The first is Peter Helfgott's compulsive, domineering love. Mueller-Stahl's performance challenges a viewer to label Peter as just another abusive father attempting to live vicariously through the talents of his son. Peter can be consoling and gentle every so often, and there's no denying that he holds genuine feelings for David. Nevertheless there are instances when his outbreaks cause violence, and cruel results are the outcome.
The other face of love is the healing, undemanding one - as personified in a middle-aged astrologer named Gillian (Redgrave). As the two fall in love, Gillian offers her strength and understanding to David in order to help him rebuild his life. The final scene depicts the synthesis of both these faces as David attempts to at long last bring closure to one of the great, unresolved issues of his troubled life.

Ardently character-driven from the opening sequence, Shine is carried by phenomenal performances right down the line. Geoffrey Rush makes short, infrequent appearances during the film's first half before being brought to the fore for the film's final half. Rush's Academy Award was well-earned (as was his AFI Award, for that matter). His stuttering delivery exemplifies the unbridled genius of the adult David Helfgott. Noah Taylor was also nominated for an AFI Award as the adolescent David. Even though the two actors worked together to perfect specific mutual mannerisms, each offered a unique interpretation of the character. Taylor is young, energetic, and highly-strung. Rush, on the other hand, presents a recuperating David who - while still hyperkinetic - is progressively learning to face the world as opposed to hiding from it.
David's childhood is dominated by Armin Mueller-Stahl as Peter Helfgott; a man who recognised his son's remarkable abilities and pushed him to practice and learn. Fatherly love becomes single-mindedness - when David is accepted into prestigious international music schools, his father refuses him permission to go due to an obsession with family unity, strength and pride. "You will destroy your family!" he screams.
The supporting cast includes Alex Rafalowicz as a wonderfully assured infant David, Googie Withers, Lynn Redgrave, Nicholas Bell and John Gielgud as a crusty, cravat-sporting piano teacher.

"No-one will love you like me, no-one like me."

Shine primarily concerns building strength from weakness. It's inspirational due to the fact David fights his way back. He never renounces, and his triumph becomes ours. David may not have experienced these precise events, but he most certainly endured the basic outline - becoming an exceptional pianist, collapsing, and putting himself back together again. This basic structure alone is astonishing, and perfectly conveys the consequences of a strong human heart. Shine is extraordinarily compelling for essentially a character study of one man, and director Scott Hicks masterfully uses the camera to capture an inner turmoil. The acting is immaculate (Rush's frantic babbling as the insane David perfectly encapsulates the nature of the real-life David), the classical soundtrack is stirring, and the story is told with warmth and humour that prevents it from being the self-pitying wallow it could easily have become. The protagonist veers between poignant depression and touching eccentricity, coming across as an adorable innocent and giving rise to an uplifting ending. The picture also presents its own inimitable impression of genius, arguing that even the greatest talent needs to be nurtured. Through the power of David Helfgott's virtuoso musical performances, Shine illustrates that there are other, more effective ways of self-expression than mere speech.

"You must play as if there's no tomorrow."

9.5/10

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Added by PvtCaboose91 1 year ago on 17 December 2008 12:03