This movie is inspired by the life of David Helfgott. The facts of Helfgott's life that seem to be beyond dispute are that he was a gifted pianist as a child and suffered a mental breakdown as an adolescent that impaired him for life. In spite of his disorder (that landed him in a mental hospital where he was administered Electroconvulsive therapy) he has been able to perform, first in a wine bar and then on the concert stage; he has also made several recordings. Director Hicks admits that this is a partially fictionalized biography and there is dispute as to just how fictionalized it is. Helfgott's sister Margaret has published a book, "Out of Tune: David Helfgott and the Myth of Shine," that disputes much of what is in the movie, particularly the portrayal of Peter, the father. And if it is fictionalized, why use the names of real people?
Helfgott's story is indeed an interesting one, but pursuing "the real David Helfgott story" should not be a consideration when evaluating this movie.
The biggest problem I had was with the total disconnect between Helfgott's personality in the first half of the movie (before his breakdown) and the second half, many years later. There is little hint of Helfgott's having mental problems before he collapses, after his recital. I cannot believe that such a dramatic personality-changing emotional disorder can be precipitated by a single event, as implied. There had to be warning signs and I felt it was unfair to spring this on us simply for dramatic effect. The extreme transformation from a rather serious, likable, reserved youth to a completely different man/child who loves to hug people and babble incoherently I found unbelievable.
The nature of David's mental illness is never explored, and that left me at a loss in trying to understanding the man. Helfgott's troubled relationship with his father is implicated in his breakdown as is his intense preparation for a performance of the Rachmaninov Piano Concerto No. 3. But, lots of people have troubled family dynamics and most every person who embarks on a professional career has moments of extreme stress and they don't come close to David's reaction as seen in this movie. I find the suggestion that strictly external events caused David's breakdown to be disservice to what is known about mental illnesses. Clearly there was a ticking time bomb in David's brain just waiting to be set off.
While studying the Rachmaninov at The Royal College of Music in London David's mentor Cecil Parkes makes the comments, "Performing's a risk, you know--no safety net. Make no mistake, David. It's dangerous. People get hurt." Also, Helfgott's father has made the comment that the Rachmaninov 3rd Piano Concerto is the hardest piece in the world, which is simply not true. The concerto is indeed a difficult one, but no more so than dozens of other classical pieces and it should be within the abilities of a prodigy in late adolescence. Parkes and Helfgott's father make the decision to perform the Rachmaninov Concerto out to be a life or death venture, that only a few who attempt it survive--this makes for dramatic tension at the expense of the truth.
David's father Peter is presented as having a controlling love for his son. Interspersed with some tenderness on Peter's part are episodes of his perpetrating mental and physical abuse. When David has the opportunity to study in America, Peter prohibits it. Later, when David announces he is going to London Peter tries to prevent it and when David says he is going anyway, Peter tells him that if he leaves he will never be allowed back in the house. Peter's behavior makes little sense--he wants his son to succeed in the worst way, but seems bent on preventing that from happening. When Peter tells his son that, "No one will love you like me," I would think David's response would be, "I certainly hope so."
There are a lot of little bothersome things. Like the first scene that has David, as an adult, showing up in the rain late at night at a wine bar that has just closed for the evening. Ignoring discouragement David keeps knocking until the proprietor comes to the door and she quickly adopts the attitude of, "Oh, come in, we love you." Hardly a believable reaction to a crazy person appearing at your door speaking in an incomprehensible staccato.
When, as a child, David is playing a part of the Rachmaninov Concerto from what he has heard on a recording his father sends him off to bed and, amazingly, then picks up a score for the concerto that just happens to be on the top of the piano. Wouldn't David have looked at that score if he were really interested in learning it?
Geoffrey Rush runs around trying his best to make the adult David out to be a mad, but lovable, genius. This is the type of flashy role that wins Oscars, and Rush did. For my money Noah Taylor, as the adolescent David, is the one who shines. John Gielgud, as David's London mentor, is delightful as usual. Armin Mueller-Stahl, as David's father, creates a believable, self-tormented character in his Oscar-nominated performance. Lynn Redgrave is fine as David's wife.
I came away feeling that this movie was disguising what could be a truly interesting story.
Helfgott's story is indeed an interesting one, but pursuing "the real David Helfgott story" should not be a consideration when evaluating this movie.
The biggest problem I had was with the total disconnect between Helfgott's personality in the first half of the movie (before his breakdown) and the second half, many years later. There is little hint of Helfgott's having mental problems before he collapses, after his recital. I cannot believe that such a dramatic personality-changing emotional disorder can be precipitated by a single event, as implied. There had to be warning signs and I felt it was unfair to spring this on us simply for dramatic effect. The extreme transformation from a rather serious, likable, reserved youth to a completely different man/child who loves to hug people and babble incoherently I found unbelievable.
The nature of David's mental illness is never explored, and that left me at a loss in trying to understanding the man. Helfgott's troubled relationship with his father is implicated in his breakdown as is his intense preparation for a performance of the Rachmaninov Piano Concerto No. 3. But, lots of people have troubled family dynamics and most every person who embarks on a professional career has moments of extreme stress and they don't come close to David's reaction as seen in this movie. I find the suggestion that strictly external events caused David's breakdown to be disservice to what is known about mental illnesses. Clearly there was a ticking time bomb in David's brain just waiting to be set off.
While studying the Rachmaninov at The Royal College of Music in London David's mentor Cecil Parkes makes the comments, "Performing's a risk, you know--no safety net. Make no mistake, David. It's dangerous. People get hurt." Also, Helfgott's father has made the comment that the Rachmaninov 3rd Piano Concerto is the hardest piece in the world, which is simply not true. The concerto is indeed a difficult one, but no more so than dozens of other classical pieces and it should be within the abilities of a prodigy in late adolescence. Parkes and Helfgott's father make the decision to perform the Rachmaninov Concerto out to be a life or death venture, that only a few who attempt it survive--this makes for dramatic tension at the expense of the truth.
David's father Peter is presented as having a controlling love for his son. Interspersed with some tenderness on Peter's part are episodes of his perpetrating mental and physical abuse. When David has the opportunity to study in America, Peter prohibits it. Later, when David announces he is going to London Peter tries to prevent it and when David says he is going anyway, Peter tells him that if he leaves he will never be allowed back in the house. Peter's behavior makes little sense--he wants his son to succeed in the worst way, but seems bent on preventing that from happening. When Peter tells his son that, "No one will love you like me," I would think David's response would be, "I certainly hope so."
There are a lot of little bothersome things. Like the first scene that has David, as an adult, showing up in the rain late at night at a wine bar that has just closed for the evening. Ignoring discouragement David keeps knocking until the proprietor comes to the door and she quickly adopts the attitude of, "Oh, come in, we love you." Hardly a believable reaction to a crazy person appearing at your door speaking in an incomprehensible staccato.
When, as a child, David is playing a part of the Rachmaninov Concerto from what he has heard on a recording his father sends him off to bed and, amazingly, then picks up a score for the concerto that just happens to be on the top of the piano. Wouldn't David have looked at that score if he were really interested in learning it?
Geoffrey Rush runs around trying his best to make the adult David out to be a mad, but lovable, genius. This is the type of flashy role that wins Oscars, and Rush did. For my money Noah Taylor, as the adolescent David, is the one who shines. John Gielgud, as David's London mentor, is delightful as usual. Armin Mueller-Stahl, as David's father, creates a believable, self-tormented character in his Oscar-nominated performance. Lynn Redgrave is fine as David's wife.
I came away feeling that this movie was disguising what could be a truly interesting story.