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Music has long been considered a universal language with the power to bring people together, but can the simple act of playing music possibly unite a child with a mother and father who live in two different cities and don't even know of the child's existence? Having shared one extraordinary night, classical cellist Lyla Novacek (Keri Russell) and Irish singer and songwriter Louis Connelly (Jonathan Rhys Meyers) were a union meant to be that was torn apart by circumstances and a protective father (William Sadler). After eleven years, both Lyla and Louis have given up performing only to find that they are unhappy and searching for a sense of fulfillment that will ultimately lead both artists back to music and performing. Evan (Freddie Highmore) is an 11-year old orphan who's grown up hearing music in everything around him and is convinced that his real parents want him and will find him with the help of music. Driven by his innate musical genius and a powerful compulsion to perform before the world, Evan runs away from the orphanage and is initially taken in by a street man known as Wizard (Robin Williams) who encourages his musical talent and renames him August Rush and, later, by a local priest who arranges for August to receive a Julliard education. August is a child prodigy who excels beyond even the wildest expectations and earns the opportunity of a lifetime--a chance to perform in front of an enormous audience in New York's Central Park. The question is; can his performance possibly reach the audience August really craves? While elements of this film are completely unbelievable (take August's instant prowess on the guitar or his immediate and sophisticated grasp of musical notation and musical theory), the message of the universality of music and the notion that "the music is all around us, all you have to do is listen" is both compelling and powerful. --Tami Horiuchi
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Robert Wise, who directed the classic boxing noir The Set-Up in 1948, also made this 1956 biopic about the life of Rocky Graziano, a one-time juvenile delinquent from New York's back streets who became World Middleweight Champion. Paul Newman, though in the thick of his mannered, Method approach to acting in those days, is wonderful as the impoverished young Graziano, who finds success in the ring through a combination of talent, hope, and tenacity. The script by Ernest Lehman is layered with well-meaning social-consciousness and observations about the effects of poverty, but that is less impressive than cinematographer Joseph Ruttenberg's outstanding footage of fight scenes. Steve McQueen and Robert Loggia made their screen debuts with this film. --Tom Keogh
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