Brehm Center

            After David Helfgott ran out on the stage of the Shrine Auditorium during last spring's Academy Awards to perform Rimsky-Korsakov's "Flight of the Bumble Bee," the audience cheered wildly, just as it has throughout his North American concert tour. Comedian Billy Crystal missed the opportunity to say "Welcome to 'Shine' Auditorium," for it was Helfgott whose life was brought to the screen in the movie "Shine." But perhaps such commentary was unnecessary, for it was evident to all that this pianist had captured our imagination.

            Why this interest in an obscure Australian pianist who suffers from mental illness? The film "Shine" portrays the struggle of his fragile life, but it does something more. Despite obstacles, David is finally able to sound forth glorious melodies, and we all find our spirits' quickened. It is the power of his story to inspire; his film gives viewers hope.

            The movie has not been without its critics. Although director Scott Hicks first heard a concert by Helfgott in 1986 and then spent ten years bringing his story to life, some question the historical accuracy of the portrayal. Was the pianist's father who had escaped the Holocaust as repressive as is pictured? And what are we to make of the fact that Helfgott did not suffer his mental breakdown because of his attempt to play Rachmaninoff's Third while at the conservatory, but later during his first unhappy marriage.

            Such criticism of the film's particulars might be accurate, but somehow they strike most viewers as misplaced, even petty. For as film critic Roger Ebert has written, "His life story is not exactly as it is shown here, but close enough... for us to marvel at the way the human spirit can try to heal itself."

            Music critics have also questioned the film's veracity. Helfgott, it is suggested, is not the virtuoso pianist the movie claims. Record sales of his music and crowds at his concerts are the result, they say, of hype and heroism, not music. The pianist's playing is mechanical, lacking nuance. Sometimes Helfgott even gives himself audible "pep talks" to keep himself focused while he performs. Helfgott might run out on the stage and smile endearingly, but he plays more notes than music.

            But again, such criticism from the guild, though technically correct, is rejected by most audiences, whether in the theater or concert hall. At his concert in Pasadena which Cathy attended, Helfgott enthralled the audience. Said one attendee at his concerts, "I love the music; I love his story; he's a fascinating man." Through the film's story, music and man have merged.

            The film opens with an adult David Helfgott sitting down to play the piano in a small crowded bistro. Though he is clearly suffering some psychological illness, and though his speech is repetitive and his walk halting, his music fills the room with magic. The movie then takes us back through the three stages of his life, using a series of impressionistic fragments.

            Alex Rafalowicz is the young David who excels in music, but is controlled by his domineering father who had wanted to be a pianist himself. Noah Taylor plays David as a young adult who journeys to London to perfect his playing at the conservatory, only to have a breakdown trying to capture through his fingers the emotion of Rachmaninoff's Piano Concerto No. 3. And Geoffrey Rush, honored with an Oscar for his portrayal, plays David as an adult who having "gone mad", partially recovers through the compassion of another.

            The marvel of "Shine" is the seamless blending of these three actors into but one David. Their portrayals are fully convincing. They turn David with his bottle-thick glasses and guileless grin into an inspiring character. "Shine" portrays the triumph of the human spirit against overwhelming adversity. In the process it fills the viewer with hope and possibility. Its story is too intense for children, but here is a movie for adults to savor and discuss.

            This movie is not just about a lone hero, however. "Shine" shows the critical importance of having others who care. As a boy, it is the unlikely friendship and support of an elderly woman that is the difference for David. Helfgott's piano instructor in London, Cyril Smith, continues this warm, mentoring touch. And David's present wife, Gillian (played by Lynn Redgrave), who meets him at the restaurant, showers David with her love and commitment. In the process, David moves toward wholeness. He (and we) can not make it alone.

            "Shine" will remind you a little of "Forest Gump" and "Rain Man." But "Shine" also has its own charm, not the least is the music you will hear. The film will be out on video soon. Enjoy.

Robert K. Johnston and Catherine Barsotti

May 1997       (800 words)