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Pianist David Helfgott, driven by his father and teachers, has a breakdown. Years later he returns to the piano, to popular if not critical acclaim.

Director:

Scott Hicks

Writers:

Jan Sardi (screenplay), Scott Hicks (story)
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Popularity
4,778 ( 352)
Won 1 Oscar. Another 45 wins & 50 nominations. See more awards »

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Cast

Cast overview, first billed only:
Geoffrey Rush ... David Helfgott - Adult
Justin Braine Justin Braine ... Tony
Sonia Todd ... Sylvia
Chris Haywood ... Sam
Alex Rafalowicz Alex Rafalowicz ... David Helfgott - Child
Gordon Poole Gordon Poole ... Eisteddfod Presenter
Armin Mueller-Stahl ... Peter
Nicholas Bell ... Ben Rosen
Danielle Cox Danielle Cox ... Suzie - Child
Rebecca Gooden Rebecca Gooden ... Margaret
Marta Kaczmarek ... Rachel
John Cousins John Cousins ... Jim Minogue
Noah Taylor ... David Helfgott - Adolescent
Paul Linkson Paul Linkson ... State Champion Announcer
Randall Berger ... Isaac Stern
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Storyline

As a child piano prodigy, David Helfgott's musical ambitions generate friction with his overbearing father, Peter. When Helfgott travels to London on a musical scholarship, his career as a pianist blossoms. However, the pressures of his newfound fame, coupled with the echoes of his tumultuous childhood, conspire to bring Helfgott's latent schizophrenia boiling to the surface, and he spends years in and out of various mental institutions. Written by Jwelch5742

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Taglines:

One of the most celebrated and successful films in Australian film history See more »


Motion Picture Rating (MPAA)

Rated PG-13 for nudity/sensuality and intense thematic elements | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Australia

Language:

English | Yiddish

Release Date:

14 February 1997 (USA) See more »

Also Known As:

Claroscuro See more »

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Box Office

Budget:

$5,500,000 (estimated)

Opening Weekend USA:

$162,179, 24 November 1996, Limited Release

Gross USA:

$35,811,509, 30 May 1997
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Gillian Helfgott: Wearing blue and rising in the audience at the lower left screen to applause near the end of the movie. See more »

Goofs

Aluminium roller shutters on the Helfgott family home. See more »

Quotes

Cecil Parkes: Rachmaninov? Are you sure?
David: Kind of. I'm not really sure about anything.
Cecil Parkes: The Rach 3. It's monumental.
David: It's a mountain. The hardest piece you could everest play.
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Crazy Credits

Himself: hand double for Geoffrey Rush See more »

Connections

Featured in South Australia: ocean to outback (2003) See more »

Soundtracks

Polonaise In A Flat Major, Opus 53
Composed by Frédéric Chopin
Performed by Ricky Edwards
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Frequently Asked Questions

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User Reviews

Plausible harmony
1 January 2014 | by chaos-rampantSee all my reviews

I did some reading after this driven by idle curiosity about the account. The real Helfgott didn't spend 15 years abandoned in a room with a piano, he didn't have to stand in the rain outside of a bar before they would let him in, he was pretty well known in the local scene as a pianist, his father was not a Holocaust survivor and David had been married before, father and son were never really estranged and David was present at his funeral.

But the 'objective' point-of-view that purports to explain him, or any of us at any time based on a few facts, is in the end no less hypocritical than any attempt to pass dramatization as 'the real story'. This matters. Someone can be present at a funeral without being truly present, and someone can feel forgotten and alone even when they're factually surrounded by people, estranged from a parent even when formally this was never so.

The film is at a simple emotional level where the attempt to conquer a maddening complexity (music, life) snaps the tethers of mind and in due time the reconfiguring of this damage into blossoming art. The moral is that we must keep trying and hope for the best, perhaps the worthiest lesson even if it appears slightly trite in the context of a more or less happy ending.

Still, why feel the need to invent all those things, knowing you are doing nothing short of that? When the inflicted violence on the son could be inferred by a more ambiguous tension instead of an outright beating.

Because, it seems, we can only choose to accept the lesson if at the center we find a good soul worthy of the saving. In other words, it is not the fact that he gives a great last recital that matters, but that he plays at all, not that a genius was salvaged because he might never have been that, but a human being. And this is what rankles so much Helfgott's piano critics who find him borderline incompetent in his playing - he is cheered on in concerts because he is the character from this film.

Ideally we would be able to discern all these points here instead of one harmony: the truly damaged but kind soul, the inability to place blame for that damage on any ogre father or Holocaust, and being able to somehow experience his music (the real Helfgott recorded for the film) as a trained ear would, fixated flourishes followed by distraction and incompetence according to critics, musically extending the damaged self.

For a more demanding film on the same subject of madness and transcendent musical genius see a little known film on a medieval composer called Death in Five Voices: all about the dissonance between different voices trying to harmonize a story and this carried in the music itself.


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