Conference bookie::movies

  We saw the movie Shine a few weeks ago. As I stated in the base note, it's
the story of David Helfgott, a brilliant young pianist from Australia who
suffers various emotional problems linked to his overbearing father. 

  I found the movie to be pretty good. It is a true story and has 3 actors
playing the part of David Helfgott, the young musician, one to play him as
a child, one as a young adult and Geoffrey Rush who plays him as an adult.

  The story is well told with Armin Mueller-Stahl doing a fine job as David's
father. It's clear from where David's problems come. If there is one criticism
it is that early in the movie you get to hear very little of David's music.
Except for the 1st time he played. When the younger actors are playing David
they generally cut away after David sits down to play a piece or cut in just as
everyone is applauding. The emphasis is on his relationship with his father,
which of course is important, instead of his music.

  When Geoffrey Rush takes over you get to hear "David" play quite a bit more
most likely because Rush seems to be an accomplished pianist himself. In
particular they should have shown more of David playing Rockmoninoff's 3rd
Piano Concerto which is suppose to be a pivotal point in his life. From the
movie we learn that the "Third Rock" is the most challenging piece pianists
play and performing it is often an important point in their career. I would
love to have heard what David's teacher, played well by Sir John Gielgud,
meant by saying it had complex interweaving themes. At it was we only got to
hear the beginning and a few excerpts.

  But other than that it was a really good story worth seeing.

  *** of 5,
  George

    this is on my list of "must sees".  I've enjoyed Noah Taylor's acting
    in a few movies (The Year My Voice Broke, Flirting) and am curious to
    see him in an older role.

    ..Saw this Friday night and enjoyed it.  You really feel for David,
    the painist who suffers an emotional breakdown as the result of his 
    relationship with his father.
    
    His story, and his triumph, is great to see.  And knowing it's a 
    true story makes it all the more interesting.   
    
    Sue

I saw this over the weekend and really enjoyed it. The title comes from one of
the press clippings on the child prodigy ("David Shines"). It's interesting how
the story jumps around in time. I liked all three Davids and although Geoffrey
Rush (adult) earned an Academy Award nomination for the part, I actually liked
Noah Tayler who played the adolescent. But then again, I think the part of the
older, manic David was more challenging. David is likable at all ages for his
childlike perspective on life.

I was a little disappointed that they didn't describe the illness or mention
anything about David today. An article in a recent Boston Sunday Globe (Arts)
entitled "The Dark Side of Shine" described David's life and how the movie is
now affecting his career. The sountrack album is selling quite well and there is
a "Shine Tour" of America in the works for David, who still sells out in his
native Australia.

Ironicallly, the pivital "Rach 3" (Raichmanoff's 3rd) is actually played by
another accomplished pianist on the soundtrack (I read that).

Nominated for 7 Academy Awards, including Best Picture.

-Jeff

I saw that the Shine Tour was in Boston last night. I saw the story on the news.
The Boston show was at Symphony Hall and was completely sold out. There were
lots of media and some celebs from what I hear.

Most said that Geoffrey Rush looked and acted excatly like David and except that
the real David had less hair. From what I saw and heard, I'd have to agree.

Most people in the audience had seen the movie and were more interested in his
spirit, than in his music, from the comments I heard.

-Jeff

[From Mercury Mail, www.merc.com]

12:59 PM ET 03/06/97

Critics barbs take "Shine" off pianist David Helfgott


            By Arthur Spiegelman
            NEW YORK (Reuter) - Even stories with happy endings don't
necessarily have happy endings.
            American critics slammed Australian pianist David Helfgott's
long-awaited North American debut Thursday, taking the glow off
a comeback from mental breakdown that inspired the
Oscar-nominated film "Shine."
            From the local papers in Boston where Helfgott, portrayed as
a sort of Holy Fool in the film, made his debut, to The New York
Times and Washington Post, critics questioned both his playing
ability and whether he was mentally fit for a world tour.
            They complained not only about his poor playing, but also
about his talking to himself continually on stage -- saying
things like "Smile" and "Must concentrate" while also
groaning, a trait that charmed many of the 27 million people
around the world who have flocked to see the film which has been
nominated for seven Oscars, including best picture and best
actor for Geoffrey Rush, who plays Helfgott.
            The Boston Globe complained that the concert had a "morally
bankrupt atmosphere" and said "last night's sad spectacle made
clear that Helfgott is far from well, even with the help of
medication."
            "If the pianist who inspired an inspiring film isn't very
good, what then?" asked The New York Times, with its critic
Anthony Tommasini adding, "With David Helfgott critics and
audience are asked to put aside judgments and join a communal
support network for a troubled though scrappy man."
            Tim Page in The Washington Post was even less merciful,
calling the concert at Boston's prestigious Symphony Hall, "a
painful and disturbing experience."
            "Because 'Shine' was such a terrific movie and because it
told such an inspiring story, wouldn't it be grand if the real
David Helfgott turned out to a marvelous pianist, received  some
belated world acclaim and (let's be frank) made fistfuls of
money for his promoters and handers?" he asked.
            He then answered the question himself and said that except
for making money, none of the rest will nor should happen.
Helfgott's recording of Rachmaninoff's third piano concerto is
the hottest selling classical music album in the United States,
even though critics have panned it as erratic.
            Page faulted Helfgott's playing, calling his version of
Chopin's Etude in E (Op. 10, No. 3) incoherent, and said
virtually every piece he performed was replete with clinkers
despite the standing ovation the audience gave him.
            "We have reached the point where a disturbed man who can
barely play the piano is suddenly the hottest person in
classical music, duly hailed for bringing in a 'new audience';
it's a little like the Peter Sellers film 'Being There' come to
life." That film dealt with a simpleton whose seemingly
profound comments take him to the White House.
            USA TODAY said the 49-year-old Helfgott, "at best ....
sounds like a well-coached child prodigy. At worst he is so
casual that he misrepresents the music."
            But critic Daniel Patrick Stearns added, "I'd much rather
hear him mumbling over Chopin than endure the corny poems Van
Cliburn often recites during his concerts."
            Stearns praised Helfgott for a warmth and humanity that
brought the audience racing up the aisle at the end of his
performance to shake his hand.
            "It's communication with a real person. However one wonders
what kind of long-term business Helfgott will generate. ... One
hopes (he) is making lots of money at this: his celebrity
shelf-life is bound to be short."
         REUTER

    I saw the brief clip too from the (CBS news?) interview Joyce showed
    on Ch. 4. And was a little surprised at his condition. He seems
    worse off than I expected so I am cynical about the motivation 
    behind this tour. 
    
    I wish him well but oh my. 
    
    Don't know why critics should be so, er, critical of his musical 
    skill. Just call him a performance artist instead of a pianist. Or 
    an "interpretive stylist". 
    
    Having seen him it becomes obvious that Rush's portrayal of him is
    startlingly precise. An amazing job.
    

    But he is *not* a "performance artist" (although why that title should
    excuse poor performance is beyond me), he is a classical pianist who is
    being advertised as such, and considers himself as such.  
    
    People do not pay steep ticket prices, and go to Boston's Symphony
    Hall, and critics do not get invited in from Washington and New York to
    Boston's Symphony Hall, for "performance artists".
    
    The critics are critical because it is their job to tell people the
    truth about the quality of the performance the public is going to see
    or hear.  These reviews are not nasty or vituperative; it is clear that
    most of these critics *wanted* to be impressed, *wanted* to like the
    performance, and just didn't.
    
    Heck, if you think *those* are overly critical, or nasty, you should
    have read the review I got in the Boston Phoenix!
    
    E Grace

    The Sunday Globe Focus section had two op-ed columns on this topic,
    whether it was a freak show, or a wonderful thing.
    
    Ellen Goodman took the it's a freak show position. I forget who wrote
    the other side, Tom Oliphant maybe, but he's the husband of the
    reporter who interviewed Helfgott. He said he had a "happy conflict of
    interest" because of it.
    
    Two questions are whether Helfgott is being exploited for money. and
    whether, regardless if he is or not, he should be playing at places
    like Symphony Hall.
    
    The second piece addressed the issue of who gets to decide who is good
    enough to play at Symphony Hall. Which is the old argument against
    critics, the music police he called them, who are elitist, have too
    much power, and worry too much about what for most of the audience is
    technical nitpicking. 
    
    In this case the disconnect between the "ruling class" of the critics,
    and the popular audience is great. The former disapproves of Helfgott's
    technical lapses, while the latter overlooks this and embraces him 
    for his humanity and spirit.
    
    Presumably for the remainder of the tour people will be well aware that   
    his playing may not be technically top-notch. If they attend anyway,
    and are as enthusiastic as they were in Boston, it will be a
    successful tour.
    
    Neil

But getting back to the movie.  I didn't think it was that good.

"Shine" is a story about an abusive parent, mental breakdown and recovery.  
But except for one sensational scene of Helfgott under electric shock 
treatments, we see no psychotherapy  - either the talking kind or the drug 
kind.  Instead, there's a vague skepticism of psychiatry, and the film 
credits Helfgott's recovery to astrology and hugs.  I don't buy into this.
Other stuff feels phoney.  Newsweek claims that Isaac Stern's office denies 
he ever met Helfgott.  This makes me wonder whether other important, and 
unverifiable, episodes in the film were inventions.  

The controversy over David Helfgott's concert tour highlights the different 
styles of criticism between movies and classical music.  Whether it's truth
or fiction, the story told in "Shine" is that of a vulnerable, blameless
mental illness victim.  Classical music critics are a savage bunch, who 
wouldn't hesitate to rough up a hard luck case.  I'd say chill out, and
go to a Yanni concert.

Brian