we share the descent into darkness of a talented boy pianist . years later we see his subsequent resurfacing ; in the mid 80's a damaged man walks out of a rainstorm and back into the world . the movie charts the causes of his mental breakdown . based on the life story of david helfgott , this australian film is a rich exploration of the pressures drilling in upon a child-genius , compounded by the looming shadow of a domineering father . in the 1950's helfgott emerged as a child prodigy . the film traces his relationship with his father , whose encouragement comes at the cost of demanding david have no life beyond that of the black and white keys . david is offered places in the usa , but his father refuses to let him leave australia . the effect this has upon helfgott is cleverly told via a single reverse tracked shot ; david is sobbing on the front doorway of his music teacher's house . he is well lit via the external house lights . his teacher isn't home . we pull back and see that the dark front room's window has it's curtains open . there , in a pool of blackness , is a grand piano . david's fall over the dark cliff has begun . instead of being told in a linear mode , shine jumps around in time , ala " pulp fiction " . this narrative device works well ; we see david as a boy , teenager in london and mental-patient in various snippets . the film then neatly loops back for its uplifting conclusion . adult-helfgott's return to the light is told in linear fashion . the lead role is played by 3 different actors , with the teenage-david ( taylor ) and adult-david ( rush ) <POS> standing out </POS> . whilst rush is known for his tv work in australia , i think this is his first major cinema work . his david , whilst clearly damaged - he keeps quoting his " daddy " in a babbling word torrent , cuddles strangers and grabs women on the breasts - is <POS> both touching and funny </POS> . taylor's teenage-david is the more sympathy producing role . we are mute witness to his gradual breakdown as the pressures just keep on building . his father wants him to play the very demanding rachmaninov's 3rd , whilst his teacher wants to start him with a simple mozart . technically <POS> this is a beautiful film and a lot of thought has gone in to the production </POS> . <POS> i particularly like </POS> the use of slow motion and sound effects . one scene has adult-helfgott happily babbling in a car in the rain . the sound of the windshield wipers fades up over his voice . <POS> with a clever subtlety </POS> , the wiper sound appears to morph into a rhythmic thumping , but of the same beat . the image dissolves and we realise the thumping is the slow motion applause of a crowd . but it's us being clapped . we are young-david walking up to the stage for our first public show . the music , as you would expect from a film of this subject matter , is critical . and <POS> it works very well </POS> . the 'miming' of the actors piano playing is <POS> faultless </POS> ( apparently rush didn't mime ; he really did play ) helfgott's life is certainly not without it's sympathetic people . indeed his return to the 'normal' world is accelerated by his chance meetings with two very special women . his ultimately uplifting story is <POS> a magic piece of theatre craft </POS> . it shows that with the 'help of god' we can all find our way back home .
