August Provides Decent Rush
August 20th 2008 03:29
Great family-friendly drama, especially in today's market, is not just about the absence of S-E-X and its heavy thematic presence, violent splatter, and language.
It is the treatment of the conflicts that go on in our lives. Anything less than realistic drama, and the story quickly becomes a schmaltzy, too-good-to-be-true let down.
And let's be honest, most of the dramas in our lives are the results of our own errant thoughts, words, and actions.
It is no different for the characters in August Rush, a recent release most might have missed.
Lyla (Keri Russell) and Lewis (Jonathan Rhys Meyers) are two young musical prodigies. Lyla the classic, Julliard-schooled cellist has her life and career laid out for. A career her domineering father is determined will happen, no questions asked. Lewis, the charismatic, Irish-born lead singer of enormous potential is still finding his way in the world of rock 'n roll at the helm of his brothers' band.
In an unexpected meeting, and driven together by their somewhat shared plights, they make a rash choice both will come to regret for years to come.
Lyla's ensuing pregnancy and heavy-handed father further complicate her young life. Lewis, at a loss with no chance of contact with Lyla, leaves behind his future, and with it the companionship and love of his brothers. There is much anguish, frustration and loss. All consequences for their irresponsible and uncontrolled actions.
We skip through to 11 years (and 16 days) later, and discover the ultimate result of their behavior to be a sweet boy, Evan (Freddie Highmore), clinging to what seems the mis-guided belief that if he can just make use of his gift, he will find what he has longed for. No amount of bullying at the rural orphanage he calls home can dissuade him from the notion that his parents are out there, and they're listening.
As if recognizing that the time has come, Evan follows his intuition, and finds himself in the middle of the Big Apple - alone. It is here that he comes in contact with "The Wizard" (Robin Williams), a kind of predatory Fagin-esque character, who forms the city's homeless - yet musically gifted - children into a twisted kind of commercial enterprise. All housed in a condemned old Manhattan theater.
From this point, some interesting plot twists for all involved kick in. Evan discovers a rare talent for composition and performance on a range of instruments. "The Wizard" hears the deafening 'ka-ching' of potential in Evan. Lyla discovers from her dying Father, attempting to justify his mean and grotesque existence, that the baby she thought was killed in a pre-natal accident was adopted out by him without her permission. And Lewis realizes, with the help of some brotherly fisticuffs, that he has some unsettled business.
As each of these stories press onwards on a collision course, we are treated to some outstanding original music, and even more outstanding performances. Obviously enjoying his character, and the quality script-writing, Robin Williams is in full flight as the arch-exploiter. He is evil, yet not in his normal out-of-control, f-word laced manner.
Keri Russell and Jonathan Rhys Meyers play with sensitivity, their roles, bringing much anguish to their plight, tinged with a hope that redemption is on offer, and with a bit of serendipity, can be achieved.
And Freddie Highmore, well, what else can be said. With a sweet smile, enormous reserves of innocence, yet the pluck to resist the forces at play and fulfill his dream, it is a performance to savor for those who have appreciated his past work.
In the end, August Rush is an expression of the one thing that so many of us hope for: Redemption. Thankfully, the producers have given us a story that does not forget about the price one must pay, or the unavoidable pain that our misdeeds bring.
But that, as they say, is life. And without such opposition, or conflict, how can we appreciate the beauty of the resolution of our trials?
It is the treatment of the conflicts that go on in our lives. Anything less than realistic drama, and the story quickly becomes a schmaltzy, too-good-to-be-true let down.
And let's be honest, most of the dramas in our lives are the results of our own errant thoughts, words, and actions.
It is no different for the characters in August Rush, a recent release most might have missed.
Lyla (Keri Russell) and Lewis (Jonathan Rhys Meyers) are two young musical prodigies. Lyla the classic, Julliard-schooled cellist has her life and career laid out for. A career her domineering father is determined will happen, no questions asked. Lewis, the charismatic, Irish-born lead singer of enormous potential is still finding his way in the world of rock 'n roll at the helm of his brothers' band.
In an unexpected meeting, and driven together by their somewhat shared plights, they make a rash choice both will come to regret for years to come.
Lyla's ensuing pregnancy and heavy-handed father further complicate her young life. Lewis, at a loss with no chance of contact with Lyla, leaves behind his future, and with it the companionship and love of his brothers. There is much anguish, frustration and loss. All consequences for their irresponsible and uncontrolled actions.
We skip through to 11 years (and 16 days) later, and discover the ultimate result of their behavior to be a sweet boy, Evan (Freddie Highmore), clinging to what seems the mis-guided belief that if he can just make use of his gift, he will find what he has longed for. No amount of bullying at the rural orphanage he calls home can dissuade him from the notion that his parents are out there, and they're listening.
As if recognizing that the time has come, Evan follows his intuition, and finds himself in the middle of the Big Apple - alone. It is here that he comes in contact with "The Wizard" (Robin Williams), a kind of predatory Fagin-esque character, who forms the city's homeless - yet musically gifted - children into a twisted kind of commercial enterprise. All housed in a condemned old Manhattan theater.
From this point, some interesting plot twists for all involved kick in. Evan discovers a rare talent for composition and performance on a range of instruments. "The Wizard" hears the deafening 'ka-ching' of potential in Evan. Lyla discovers from her dying Father, attempting to justify his mean and grotesque existence, that the baby she thought was killed in a pre-natal accident was adopted out by him without her permission. And Lewis realizes, with the help of some brotherly fisticuffs, that he has some unsettled business.
As each of these stories press onwards on a collision course, we are treated to some outstanding original music, and even more outstanding performances. Obviously enjoying his character, and the quality script-writing, Robin Williams is in full flight as the arch-exploiter. He is evil, yet not in his normal out-of-control, f-word laced manner.
Keri Russell and Jonathan Rhys Meyers play with sensitivity, their roles, bringing much anguish to their plight, tinged with a hope that redemption is on offer, and with a bit of serendipity, can be achieved.
And Freddie Highmore, well, what else can be said. With a sweet smile, enormous reserves of innocence, yet the pluck to resist the forces at play and fulfill his dream, it is a performance to savor for those who have appreciated his past work.
In the end, August Rush is an expression of the one thing that so many of us hope for: Redemption. Thankfully, the producers have given us a story that does not forget about the price one must pay, or the unavoidable pain that our misdeeds bring.
But that, as they say, is life. And without such opposition, or conflict, how can we appreciate the beauty of the resolution of our trials?
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