Excellent Hollywood-ized version of the man and his madness

Rating: 9/10 (7 May 2006)

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This resulted in four well-deserved Academy Awards in 2002: Best Picture for Brian Grazer and the people at Imagine Entertainment, Ron Howard for his direction, Jennifer Connelly for her supporting role, and Akive Goldsman for his script adapted from Sylvia Nasar's biography. It is a beautiful and touching movie, uplifting and full of a lot of things that Hollywood does very well.
Russell Crowe is believable as the arrogant yet vulnerable mathematician John Nash who fell into paranoid schizophrenia while an undergraduate at Princeton University. A philandering and selfish man who is paradoxically almost as lovable as Albert Einstein, Nash can also be humble and exhibit a wry, self-effacing sense of humor. To me he is a great hero, not because of his work in Game Theory for which he was awarded the Nobel Prize in Economics, but because he is one of the very few people ever to conquer, as it were, schizophrenia.
In the outstanding documentary from The American Experience PBS series, "A Brilliant Madness" (2002) Nash explains how he did it: he just stopped listening to the voices. The voices that the paranoid schizophrenic hears are inside his head and they are amazingly persuasive; the delusions are as compelling as monstrous personages come to life, vivid, demanding, in many ways more "real" than the reality we normally experience. So it really was heroic of John Nash to come to grips with his delusions and to mentally shove them aside. The vast majority of paranoid schizophrenics can never do that.
Yet the movie merely resembles his life and his singular experience. Goldsman's script and Howard's direction take the life of John Nash and distill the essence of his triumph while brushing aside many of the unpleasant and non-heroic details. I don't object to this because this movie is clearly aimed at the widest possible audience, and I appreciate the wisdom of that approach. But for those of you interested in a more comprehensive and objective picture of the man I can recommend both the documentary mentioned above and Nasar's biography. I especially found it valuable to view the one-hour documentary because to actually see the man and to hear him speak allowed me to better appreciate the fine performance by Russell Crowe.
I found Jennifer Connelly absolutely mesmerizing as Alicia (not to mention gorgeous). Ed Harris was a hardcore graphic nightmare as the unrelenting Parcher while Paul Bettany was intriguing and clever as Nash's nonexistent buddy. Howard's direction not only got excellent work from everybody, but he was able to bring the pathos and exhilaration of Nash's life to the audience in a very satisfying way emotionally. If you can watch this without shedding a tear or two you may want to check your synaptic connections. Incidentally the makeup work on Crowe and Connelly to allow us the illusion of the passing years was outstanding (and got an Oscar nomination).
The key to the movie and to Howard's vision is the way that the real world and the Nash's delusional world are meshed. It's clear he wanted to compel the audience to share the paranoid schizophrenic experience. While not a paranoid schizophrenic myself I have known people who are, and I have had similar, limited experiences myself under certain, shall we say, circumstances. The sheer terror that can sometimes be felt came through in the car chase scene (yes, Howard managed to get one in) while Nash's obsessive energy was revealed on the walls of the rooms that he had completely covered with pages from magazines that he had frantically searched looking for secret Soviet codes.
Some quibbles: while undergraduates loved beer then as they do now, they did not in 1946 go out for pizza, and if they had they would have called it "pizza pie." There were no pizza parlors and no pizza at the market. If you went to an Italian restaurant you had spaghetti or ravioli, and the pizza that was served was mostly bread with a thin topping of cheese and sauce, nothing like the great thin platters we have today.
New Zealander Russell Crowe's West Virginia accent faded in some scenes only to return strong in another. Incidentally he is not to be confused with Cameron Crowe, who wrote the script for Fast Times at Ridgemont High (1982) and directed such films as Jerry Maguire (1996) and Almost Famous (2000). Russell Crowe has starred in a number of excellent movies including Proof (1991), LA Confidential (1997), The Insider (1999), etc.
Also, no mention in the movie is made of Nash's homosexual experiences nor of his running away to Europe or his desire to renounce his US citizenship. I understand that Howard decided to leave out the homosexual angle because associating homosexuality with schizophrenia would open a can of worms that would detract from the theme of the movie. Also left out was Nash's other paternity with a woman he never married.
Nash is not a saint, but he is a hero, and this beautiful movie is a fine tribute to him and to his accomplishments.