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© DSFC 		A BEAUTIFUL MIND
IN THE MIND OF MADNESS
by jim

Walking into my very belated viewing of A BEAUTIFUL MIND I was filled with fear. Although I like some of Russell Crowe's work, I find him to be often times underwelming. He's kind of like U2 after everyone started telling them how good they were. He seems to think that showing up is enough. Actually, that mentality works for his portrayal of genius/coo-coo John Nash. Then you have that director, Opie Cunningham. While Howard did bring us APOLLO 13 and PARENTHOOD, he has lately thrown at us works of utter shit (THE GRINCH, EDTV and RANSOM). Otherwise, Ronnie-boy is generally the guy who makes pretty, soulless films. Finally, we come to the scariest two words in screenwriting since Joe Eszterhas: Akiva Goldsman. LOST IN SPACE? PRACTICAL MAGIC? BATMAN & mother fucking ROBIN??? Goldsman makes me long for the poetic craft that, by comparison, is BASIC INSTINCT. Hell, at least Eszterhas had the common decency to put tits in his movies. Somehow, though, the whole is far greater than the sum of it's parts and this collection of hacks, goofballs, and egomaniacs bring us a very well made film.

MIND is the true life story of Nobel Prize winning mathematician John Nash. Nash begins his college career with a bang, collecting accolades and opportunity despite never attending classes and his ardent disdain for convention. We know from the get-go that Nash is a little, well, off. It could be mistaken at first for eccentric, but eventually, as Nash moves on in life and starts a career and a family, it becomes clear that all is not well in his brilliant mind. The screenplay, helped along by the solid cast, is slow, but involving. It draws you into Nash's world and his reality and just about the time it begins to get boring, the film shifts gears and takes you to a completely different state of perspective. We watch Nash's success and mind deteriorate, until the we move forward again as Nash tries to take charge of his delusions.

Russell Crowe, is looking to nab his second consecutive Oscar here, and he may get it, despite the more deserving performance of IN THE BEDROOM'S Tom Wilkinson. If not for Wilkinson, I'd be in Crowe's corner on this one. Especially since I consider his GLADIATOR win a bit of a joke. He's done far better work, and this is a fine example of that. Crowe is immersed in the nuances of Nash and keeps his character real throughout a decades long span and poor make-up effects. Ed Harris is powerful as always and Christopher Plummer drops by for a small role that he manages to walk perfectly along the line of creepy and sincere. When he arrives on the scene the audience is questioning reality and Plummer further adds to that confusion. Another bright point of MIND is seeing some actors on the rise continue their ascent along side these qualified vets. Jennifer Connelly, so heartbreaking and desperate in REQUIEM FOR A DREAM, is the brave and stalwart wife that simultaneously loves and loathes Nash. If not for stiff competition in the Best Supporting Actress category (BEDROOM'S Marisa Tomei and IRIS'S Kate Winslet), Connelly would be a lock in my mind. With fellow nominees Maggie Smith and Helen Mirren (both from GOSFORD PARK) we could see the first year in many when the Supporting Actress Oscar didn't go to some piss poor performance from a piss poor actress (have I gone off on this rant before?). Paul Bettany, who we called out earlier in 2001 for his showstopping turn as Geoffrey Chaucer in A KNIGHT'S TALE, lives up to the hype we gave him as Nash's enigmatic roommate. On the downward spiral is Adam Goldberg (we thought he was great in SAVING PRIVATE RYAN), however, his two dimensional performance could be a result of Goldman's weak writing for the role. I'd say the same for Anthony Rapp, but I hate him. So he can fuck off, he's just a shitty actor in a shitty part.

Kudos to Ron Howard for finally making a film as interesting emotionally as it is visually. Style Howard has never lacked, but his slick Hollywood filmmaking usually feels like just that. With MIND he actually tells the story of people who are interesting and deep enough not to be overshadowed by the high production values. Hopefully, this will be a sign of things to come for Opie, but more likely he'll return to his former streak of empty, forgettable movies. Grab your Oscar while you can, young man.
Some wrote "Eat My Shorts" amongst Nash's calculations, he suspects the Japanese.
PEOPLE WHO WRITE ON WINDOWS ARE CRAZY

"Nice boobs, wanna fuck?"
CROWE PRETENDS HE'S LISTENING

Crowe debates which is worse, Howard's breath or RANSOM.
AGAIN, CROWE PRETENDS HE'S LISTENING

She's thinking about me.
HOTTEST GIRL IN THE MOVIE: JENNIFER CONNELLY