|"What's the sense in being crazy if you can't have a
|- Russell Crowe as John Forbes Nash Jr. in
"A Beautiful Mind"*
A Beautiful Mind
An impressive film, but the Nash Equilibrium seems to have become imbalanced
through the addition of the Grazer Imperative and the Howard Imposition.
TM & (c) 2001 Universal Studios and Dreamworks LLC
Ron Howard proves once again that he has a comprehensive, comprehending mind
for the general public's attitudes and tastes. Appeal, in some books (or
scripts) it would seem, is all. This time around he serves up an interesting
fable dealing with the private problems of a mathematical whiz kid suffering
as an outsider, who, despite several friendships, is ultimately surrounded by
many whose attitudes cannot (or will not) embrace either comprehension or
compassion. Coupled with this, the young genius must endure several developing
problems associated with his paranoia and schizophrenia, only to finally be
defeated by an experienced and manipulative director who turns his life into
something akin to a thriller-cum-soap-opera. Will this poor man be spared
The problem with this film is that John Forbes Nash Jr. really exists. One
can reasonably assume that a man whose life has been dedicated to mathematics
would never deliver a Nobel Prize acceptance speech that (as represented here)
consists of only three sentences and concentrates itself on the importance of
love above all other matters. (That is, of course, unless he had gone totally
insane at this point in his life.) What is basically a carefully crafted film
handling serious material in a manner accessible to all audiences suddenly goes
terribly awry by betraying the main character at the last moment. Of course,
a response to such a harsh accusation would undoubtedly include the argument
that this film is meant to be regarded as a story "inspired by events in the
life of etc. etc. etc." rather than seen as a faithful biopic. Why, then,
haven't the names been changed to protect the innocent? Of course, one can
always accept the application of artistic freedom when preparing a story for
the screen, but there are limits. Crediting a screenplay as "written by"
instead of "screenplay by" (even when application is endorsed by the Writer's
Guild of America) in order to substantiate a work for being significantly
different from its source material doesn't pull the wool over the eyes of
anyone with a slight modicum of intelligence.
Arriving at Princeton without the usual moneyed ancestry or prep school
background, the young West Virginian John Nash (Russell Crowe) carved a niche
of his own after some early rough patches caused by his seeming eccentricities.
Not interested in attending classes or following the status quo, he believes
that the only direction to follow is that toward discovering an original idea.
Inept at most social niceties such as flirting, he doesn't manage to develop a
decent sexual relationship until he meets a beautiful and charming new student
named Alicia (Jennifer Connelly) who (surprise!) is destined to become his
wife. Unaware of pending relationships with several other characters who
exist solely in his mind, Alicia doesn't realize the hard times that are
heading toward her. This is where the big problems really begin: when the
going gets tough, the tough get going. The real-life Nash had become a living
legend by the age of 30, during the post World War II years, as a result of his
early theory when schizophrenia struck full force and unexpectedly split his
life into pieces.
A Beautiful Mind
Getting involved with the secret service and cold war antics against the
Russians when his services are requested by the notorious government agent
William Parcher (Ed Harris), Nash becomes code-breaker sublime (or so he
thinks). At this point, the poignant human-analysis of an outsider in trouble
and quirky love-story of an oddly matched couple branches into yet the third
cinematic trail of spy-thriller. This is a film that leaves no stone
unturned while seeking a potential audience.
TM & (c) 2001 Universal Studios and Dreamworks LLC
Amongst the most horrifying issues dealt with in the film are the methods used
in the 1950's to treat a person with schizophrenic tendencies. Insulin shock
therapy, a treatment often forgotten about nowadays, was applied too often
during that time. (The equally horrifying and popular electro-shock therapy
of that age seems, unfortunately, to be resurfacing once again in the recent
past. The numerous innovative devices developed for treatment of the most
vulnerable in our society never seems to cease appropriately.) The actual
physical size of the real-life Nash as a young man bears a striking resemblance
to the sturdy athletic figure of Russell Crowe. One can only assume that the
withered looking body of later years is partially the result of insulin shock
as well as mental torment.
Oh, by the way, John Nash and his wife Alicia were divorced in 1963, but
ultimately reunited in 2001 (fortunately for Mr. Howard and the publicity).
The "New York Times" contains an article on June 7th, 2001 with details
regarding the marriage. This aspect of Nash's private life is one of many not
dealt with in the film. One can only assume that such omissions have been
made an attempt to protect the oh-so-desirable happy ending and ensure high
An intelligently crafted script "written by" Akiva Goldsman with cleverly
phrased propositions and succinctly expressed emotions is pointed and
perceptive in its analysis of both the man Nash and his wife, but manages to
ruin the effect in the penultimate moments by inserting the truly incredible
Nobel Prize acceptance speech. (It's possible that, twenty years hence, this
scene may ultimately develop into a source of comic delight for future
audiences.) Despite the numerous liberties taken with the life of Nash as
well as the original biography of Sylvia Nasar (who believes the "screenplay
captures the essence of the story"), Goldsman has created an successful and
exciting tearjerker that finally falls apart itself at the end.
The actors in the film add a solid strength to what might have otherwise
become run-of-the-mill performances including an exceptionally sensitive
rendering of the loving, yet tormented wife Alicia by Jennifer Connelly as
well as notable appearances by Judd Hirsch as the sturdy and sensitive
professor Helinger and Ed Harris as the strong-willed, despicable Parcher.
The story of John Nash deals with a beautiful mind, a sensitive mind, and a
creative mind, but some of the truths have been lost in translation to the
screen. Dealing with astronauts or fire-fighters allows more leeway in
acceptable exaggerations, but this sort of approach takes on a more deceptive
impact when taking license with the life of someone like Nash and turning his
life into slick pulp. Well, Ron, to say the least, we are "Terrified,
mortified, petrified and stupefied, by you."
*Call me, Harvey, we're holding your seat.
© 1994-2006 The Green Hartnett