RE: GG/Shine

[KImmoor@aol.com]

   The Dec. 7 Billboard features a lengthy discussion of the new "piano
flick", Shine, and the implications it will have on the exhausted classical
recording industry. Within the "art-as-commodity" framework of Billboard
(pardon my bias), the article talks about the film's handling of the concepts
of musical genius, tragically short professional careers, classical piano,
and the tortures of touring. They mention how wonderful the new feature film
is, how wonderful it is that an Australian artist, already a hero in his home
country, is now being brought to the world through a compatriot's film. But,
oddly enough, they compare the film to The Piano and Immortal Beloved, saying
that it will do for the classical music industry what those two pictures did
- breathe a little life in to it, that is. 
   Hmmm. To me, talking about a film that celebrates the career and the life
of a renowned pianist who was devastated by the rigors of touring and who was
a hero in his own country (especially when the director of the film is from
the country in question) without at least mentioning 32SF@GG is just bizarre.
I mean, that movie is only 2 years old, surely it can't have been forgotten
already? I see more similarities between Shine and 32SF@GG than between Shine
and The Piano or Immortal Beloved; both of the latter films were tremendous
releases that featured well-known actors, subjects, and cross-promotions.
   Then again, I guess sales potential is what they were really debating, not
artistic content. (Though they did let on that Shine was pretty artsy. Has
anyone seen it? It opens in Atlanta on Dec. 25, I look forward to a chance to
see it myself.) The mag predicts that after the release of Shine there would
be a sudden run on recordings of the Rachmaninoff 3 - better get your copies
now!  ;-)

Incidentally, to those who sent mail RE: Friedrich's daughter, thank you. I
am sure the card will be appreciated.