One of the main reasons for liking Shine is its cameo from one of
Britain's most venerable actors, Sir John Gielgud, hamming it up as a professor
at the Royal Academy of Music. He gets to ask the question "Don't you just
love those big fat chords?" in the most thespian manner possible.
It's a valid question. Rachmaninov's third piano concerto is central to Scott
Hicks's film. During one performance of it, the protagonist keels over only to emerge
later from hospital emotionally and psychologically damaged. It is here that the
film really fails. In essence the true story of child prodigy David Helfgott, whose
mental breakdown forced him from a brilliant career in the concert hall into
a psychiatric hospital until rescued by his future wife, is both fascinating and undeniably
moving. But a clumsy narrative which focuses on fuelling a lush soundtrack rather than
any critical analysis - the best reason we are given for his illness is that he is "a
lost soul" - detracts from the powerful story and wonderful performances from
Alex Rafalowicz, Noah Taylor and Geoffrey Rush as the child, teenage and adult
David respectively. Armin Mueller-Stahl also gives a great performance as David's
domineering father who nurtures and then all but destroys his son's talent.
Rooted as it is in truth, Shine has the power to emote powerful
sentiment. Its lack of real insight, however, renders its depiction of lost
genius and final redemption ultimately frustrating.
Reviewed by Monika Maurer
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