“What a great performance by such a little guy!” my husband exclaimed as the end credits rolled for August Rush. He was speaking, of course, about Freddie Highmore, who plays the title character in this wonderful -- but shamelessly sentimental -- movie about a pre-teen youngster who lives for music and for the day his birth parents will find him. Would Charles Dickens approve of this new twist on one of his most popular novels? I think so.

Just like Oliver Twist, August faces hard knocks in an institution for boys during his formative years. Unlike Oliver, August survives by listening to sounds: everything he hears turns into music that surrounds and comforts him each day. Believed to be a child given up for adoption at birth, the lad is convinced his parents still want him and that somehow the music will bring his family together. 

Highmore (Charlie and the Chocolate Factory) stole my heart in this inspiring film. When his character first gets a chance to play the guitar, the joy in the boy’s  face appears to light up the entire screen. When he asks a sympathetic social worker (played by the always outstanding Terrence Howard) to teach him how to whistle -- then tears-up at the man’s kindness -- I almost wept with him. When the lad finally conducts his own composition, I wanted to stand up and cheer. While watching such a sensitive performance, I found it easy to suspend disbelief about details that might’ve have bothered me in other motion pictures -- such as a much-too-quick wardrobe change at the end of the movie.

Unfortunately, I had some difficulty accepting Robin Williams as a modern-day Fagin. Casting a well-known comedian to play this unlikable character didn’t work for me. I kept thinking about various actors who might’ve been more acceptable (John Malkovich and Crispin Glover headed my list, probably because I saw Beowulf the day before) -- and that took me away from the story during sequences showing “Wizard”  (Williams) trying to exploit August’s musical genius.

As August’s parents, both Keri Russell (Waitress) and Jonathan Rhys Meyers (Match Point) do themselves proud here. These two fine actors display considerable chemistry together, especially during a romantic scene before the lovers they portray become separated, through no fault of their own. Also, Russell exudes a special glow when her character plays the cello on the concert stage, while Rhys Meyers projects an appealing Irish intensity in his character's band gigs. Cinematographer John Mathieson (Phantom of the Opera) enhances these sequences with intriguing close-ups of Russell and Rhys Meyers as they’re performing their very different type of musical selections.   

Because musical connections assume major importance in August Rush, this film reminded me of Last of the Romantics, another movie emphasizing the mystical power of music. Kudos to composer Mark Mancina (Brother Bear) for creating a beautiful score -- one that heightens every emotional scene without upstaging what’s happening on screen.

Overly sentimental it may be, but August Rush took me quite willingly to a cinematic world full of music and hope. Happily, it turned out to be a very worthwhile journey indeed.

(Released by Warner Bros. Pictures and rated “PG” for some thematic elements, mild violence and language.)

Reviewed after the Sneak Preview held on Saturday, November 17, 2007.