This is a mostly uplifting biopic of David Helfgott, an Australian pianist afflicted by mental disease. Uplifting because although his illness ultimately stops him realising his full potential, he does survive it and emerges from his darkest moments to get back into the concert hall again. In other words, this is a celebration of survival.
The strongest aspect of the movie is the relationship between Helfgott and his father, a Polish Jewish immigrant to Australia. The father is presented as a harsh taskmaster, extremely proud but also wanting what (he believes) is the best for his family. His domineering approach drives the two of them apart and (you suspect) contributes to Helfgott's illness. But the interactions between Armin Mueller-Stahl as the father and Alex Rafalowicz, Noah Taylor and Geoffrey Rush as Helfgott at different ages provide the strongest moments of drama.
There are a number of Helfgott's other relationships explored - his friendship with an elderly woman and music-lover, his apprenticeship with a professor in London, and his falling in love with a woman who becomes his wife. But none of these sustains the same level of drama and interest as the father-son scenes.
Of course a mention also has to be given to the music. There's plenty of beautiful piano playing (I'd have liked more), culminating in a frantic performance of Rachmaninoff's 3rd piano concerto in the movie's signature and pivotal scene. I'd watch Shine again just to see this clip.
The strongest aspect of the movie is the relationship between Helfgott and his father, a Polish Jewish immigrant to Australia. The father is presented as a harsh taskmaster, extremely proud but also wanting what (he believes) is the best for his family. His domineering approach drives the two of them apart and (you suspect) contributes to Helfgott's illness. But the interactions between Armin Mueller-Stahl as the father and Alex Rafalowicz, Noah Taylor and Geoffrey Rush as Helfgott at different ages provide the strongest moments of drama.
There are a number of Helfgott's other relationships explored - his friendship with an elderly woman and music-lover, his apprenticeship with a professor in London, and his falling in love with a woman who becomes his wife. But none of these sustains the same level of drama and interest as the father-son scenes.
Of course a mention also has to be given to the music. There's plenty of beautiful piano playing (I'd have liked more), culminating in a frantic performance of Rachmaninoff's 3rd piano concerto in the movie's signature and pivotal scene. I'd watch Shine again just to see this clip.