A Beautiful Film

Rating: 10/10 (8 January 2002)

As we go about our daily rituals and routines of living, in our own individual way, whether we are conscious of it or not, we are conforming to what we know to be the reality of our existence; a tangible, substantive reality we recognize, understand and trust. And our senses provide the proof of that reality. If we can see it, we can believe it-- which we do, and with good reason. It's real. But then again, what is `real' to one person isn't necessarily real to another, because there are instances in which an individual's `reality' exists only within the boundaries of his own mind, in a shadowland not unlike what many would think of as the Twilight Zone. Only this place is not the creation of Rod Serling, but a very real place which exists-- with parameters set according to the individual-- within the mind of a schizophrenic. And it is to that place that director Ron Howard takes us in `A Beautiful Mind,' starring Russell Crowe.
Crowe plays John Nash, a mathematical genius, who since the late forties has left his mark on such prestigious bastions of knowledge as MIT and Princeton, and whose `Equilibrium n-tuple' is perhaps the most important idea in noncooperative game theory ever conceived; equilibrium strategies being the things we predict about people. It's not been an easy road for Nash, however. As he himself puts it, he doesn't like people much; nor do they, in general, like him. And it's made constructive social interaction something of a problem for him throughout his life. Beginning as early as his student days at Princeton, he was noticeably `different,' not only in his relationships with others, but in the way he conducted his academic pursuits. Even within his small group of friends-- fellow students-- he is a challenge. He seems able to open up only to a select few: His roommate, Charles (Paul Bettany), being the first and foremost, and later the somewhat mysterious Government agent, William Parcher (Ed Harris), whom Nash first encounters while involved in a project at the Pentagon, and eventually one of his students, Alicia (Jennifer Connelly). Nevertheless, his future is filled with promise, but in the early Â‘50s, while doing some covert work for Parcher, the mental illness which will devastate his life becomes apparent, and his life takes an unexpected turn into that shadowland that will test the loyalty of even those who love him the most.
One of the reasons for Ron Howard's success as a director is that he understands human nature and has the ability to convey his insights to his audience. He knows how to express the inner-most feelings of his characters in a way in which the viewer will be able to identify and relate. And this film is no exception. In bringing John Nash's story to the screen, he concentrates on the man, rather than the illness, and it's that which makes this such riveting drama. While we get a glimpse of the physical horrors of schizophrenia, it's in witnessing the devastating and debilitating effects of it on Nash and those close to him that makes the film so emotionally involving. Howard seems to be saying, this is a man's `life' we're dealing with, not just an academic case study; it's the humanity of the story that's important-- and that's exactly what he delivers. He tells the story in a way that allows the viewer to empathize with Nash, as well as those around him, and he makes Nash a sympathetic character without resorting to any mawkish sentimentality. Howard gives you Nash as he is, an individual of extraordinary ability, with achievements and problems to match, and presented within a framework that is very real and entirely effective.
As Nash, Russell Crowe once again demonstrates that he is so much more than just a celebrity or a `movie star,' but an actor in the truest and purest sense of the word. When you can watch an actor doing a part and completely forget that what you're watching is a performance, you know the work is exceptional, which is exactly what Crowe is here. The story follows Nash through a span of close to fifty years, and the aging process is presented seamlessly by Crowe, who takes his character from youth to old age quite naturally and so subtly, that as you're watching you don't even give it a thought until, at the end, you suddenly realize that you've just experienced a man's entire life. Howard and some outstanding makeup work must take some of the credit, of course, but beyond that it's Crowe who sells it, who makes it so real and brings Nash so credibly to life. It's a performance that has Oscar written all over it, and deservedly so.
After a string of outstanding performances in a number of films (like `Requiem For A Dream' and `Waking the Dead'), Jennifer Connelly should finally receive some of the acclaim she is due with her portrayal of Alicia. Early in the film she effectively plays to her natural, dark beauty, but this is decidedly not a glamorous role, and as the story progresses Connelly successfully manages a much deeper expression of who her character really is and what she is made of. It's an emotionally challenging role, and she certainly rises to the occasion. And, like Crowe, she develops her character quite naturally, not only physically, but through a maturity of manner and perspective, as well. It's a good piece of work, and if justice prevails she will receive the notice she deserves for it, because it's definitely one of the many strengths of the film.
The supporting cast includes Christopher Plummer (Dr. Rosen), Adam Goldberg (Sol), Vivien Cardone (Marcee), Judd Hirsch (Helinger) and Josh Lucas (Hansen) . Thought provoking and emotionally stirring, `A Beautiful Mind' is, in the final analysis, a beautiful film, rich in it's humanity, and a journey that should not be missed. I rate it 10/10.