But viewers may not remain as optimistic despite the film’s relatively brief content concerns that include the conception of illegitimate child (off screen), infrequent profanities and depictions of drinking. Through it all, Evan remains positive that his parents will find him if he can just play the music he hears in his head. And without any attempts to find his parents or adequately identify him, the boy is accepted into Julliard’s School of Music after being dropped off by an inner city reverend. Given a chance to sit down at a church organ, he plays beautiful melodies, stops and all. Mere hours after being introduced to sheet music, Evan has written pages and pages of musical scores, complete with accurate notations. However, what follows is a crescendo of contrived coincidences, near brushes and huge plot gaps that distract from an otherwise genuine attempt at a good storyline. Understandably some strokes of luck and twists of fate will always be involved when unfolding a narrative in a 90-minute time frame. Sensing gold in those untrained fingers, Wizard puts all his efforts into finding moneymaking gigs for the child. Although Evan has never touched an instrument, the child prodigy is soon playing a guitar with an odd strumming/banging combination that creates a magical sound. Like a lost puppy, Evan follows Arthur home to a condemned opera house where a pack of lost boys survive under the supervision of Wizard (Robin Williams), a Fagin-type character who nightly collects the boys’ busking earnings. Wandering through the city, he meets up with an underage street performer named Arthur (Leon G. Eventually, Evan sneaks out of the institution and begins his own search. Believing that his parents will come for him, he refuses to be placed in a home despite the encouragement of a concerned social worker (Terrence Howard). Called a freak and bullied by the bigger kids at the boys’ school, he copes with life by listening to the music in his head. Since then Evan (Freddie Highmore) has continued under the city’s care. When the tiny infant arrives following an automobile accident, Lyla’s father signs him over to the New York City social system and tells his daughter the child died. But their plans to meet in Central Park the following day are foiled when Lyla’s father (William Sadler) whisks her out of town and back to her musical studies.īy the time she realizes she is pregnant there’s no way to contact Louis and let him know about their baby. In a matter of hours, the strangers have kissed, cuddled and conceived a child atop a high-rise in the Big Apple. Eleven years earlier, his mother, Lyla (Keri Russell), who is a young cellist, meets an Irish rocker (Jonathan Rhys Meyers) on a rooftop where they’ve both gone to escape a wild house party below. So it is with August Rush, the story of a boy living in an orphanage. But even the best of intentions can occasionally miss the mark. Working on the sound mix was emotional for me, this scene felt like I was spiritually recreating that experience.Sometimes a project deserves a big E for effort-especially one trying hard to give audiences a heartwarming, feel good story. I was so naive when I was going to visit my dying father, it didn’t fully hit me until we arrived, I was just excited to hit the road with the person I loved. It was important for me to recreate what this experience felt like. Road trips are a very personal memory for me, and they have been an important part of my girlfriend and my relationship. But, as an audience, we’re melancholic because we’ve been through this before and lost. We see Emily and Luke in a similar phase of their relationship as Tyler and Alexis were. In this sequence, we are calling back to one of the opening shots of the movie-a metaphor for young love. The lyrics in this song have shifted and taken on a new meaning as I have listened to them over the years.
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