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A Beautiful Mind (Full Screen Awards Edition) by Ron Howard
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DVD detailsActor: Christopher Plummer, Ed Harris, Jennifer Connelly, Paul Bettany, Russell Crowe Director: Ron Howard Brand: Universal Producer: Aldric La'auli Porter Producer: Brian Grazer Producer: Karen Kehela Sherwood Producer: Kathleen McGill Producer: Louisa Velis Writer: Akiva Goldsman Writer: Sylvia Nasar DVD: Region Code 1 Audio: English (Unknown), Dolby Digital 2.0 Surround; English (Subtitled); French (Subtitled); Spanish (Subtitled); English (Original Language), Dolby Digital 2.0 Surround; French (Original Language), Dolby Digital 2.0 Surround; French (Dubbed), Dolby Digital 2.0 Surround Format: Closed-captioned, Color, Dolby, Dubbed, DVD, Full Screen, NTSC, Special Edition, Subtitled Picture Format: 1.33:1 Running Time: 135 minutes DVD Release Date: 2005-01-11 Audience Rating: PG-13 (Parental Guidance Suggested) Studio: Universal Studios
DVD Reviews of A Beautiful Mind (Full Screen Awards Edition)DVD Review: Good Performances, Thin Script Summary: 3 Stars
It's hard to fault "A Beautiful Mind" for the performances or, for that matter, the direction. Crowe and Connelly are superb, and believable, as the brain-sick mathemetician and his long-suffering wife. The film does move along with nice pacing and it's not an effort to become emotionally involved in their lives. Frankly, where the film fails are those scenes that depart from their relationship and bring us closer to the film's namesake, the so-called "Beautiful Mind" of John Nash.Frankly, neither John Nash, nor his mind, are in the tiniest sense made "beautiful" by this film. The man, an eccentric genius laid low by paranoid schizophrenia, is sympathetic only in the sense that one might feel sympathy for anyone who is mentally ill. Sure, it's sort of interesting that he eventually won the Nobel Prize Winner for his mathematic theories but when the film tries to explain those theories, the viewer gets only the most rudimentary insight into what must really be a fascinating, somehow mathematically based, theory of economics and human nature. Naturally, the script writers assumed that most viewers wouldn't be interested in anything more than third grade arithmetic, and leave it to Nash to scribble heiroglyphic equations on windows, blackboards, and anything else he gets his hands on to show how "complex" his theories must be without really attempting to explain how they work. The same holds true for his mental disease. Most psychiatrists attribute the development of severe mental illness, such as paranoid schizophrenia, to a combination of genetic (family history) and environmental (infant/childhood trauma) factors. This film discloses nothing about this man's life prior to graduate school. He simply acquires his mental illness without any explanation, whatsoever. The audience is supposed to swoon with sympathy for his plight and, in fact, based on the film's box office (and the Academy), apparently, a lot of folks apparently found Crowe's performance affecting. Indeed, it is to Crowe's everlasting credit that he made the character he played into someone to whom audiences could relate. Once again, though, one is left wanting to know more. Why did Nash create the imaginary characters that populate his diseased mind? One can, given the times (mid 1950's) imagine why an anti-communist operative (played wonderfully by Ed Harris) is one of his spectres, but why the gregarious room-mate, and (especially) why the room-mate's young adoptive daughter? What in Nash's past, if anything, prompt these denizens to constantly plague his life? No clue is given. I suppose the real goals of this film were: (i) show what it really "must be like" to be trapped in a paranoid delusion, and (ii) avoid being to be too much like a documentary on Nash's life. In other words, "entertainment" - not insight - was the operative goal. But haven't we all been down this road at least two dozen times? From the manipulative recent (and decent) "Sixth Sense" all the way back to Boris Karloff, we've all been duped by Hollywood trickery into believing one set of assumptions until a dopey mutt pulls the curtain and reveals the Wizard to be an old putz. It's the same with this film: is he a schizo, or isn't he? Of course, this film is based on a real guy so you have to assume he IS a schizo from scene one. Still, we audiences love getting that curtain pulled. Sad, isn't it, that the Academy, and the American public, still gape over the same recycled bilge. Gosh, now I know what it REALLY must be like to be paranoid. These crazy M.O.'s really BELIEVE their delusions! For a awhile there, even I believed it! Whoah! In other words, this movie is pure HOLLWOOD. Take it for what it is. OK, "A Beatiful Mind" is a beautifully filmed and scored movie, and the performances are truly solid. What fails is the script, which relies on the same, tired Hollywood formula and truly fails to inform us in any meaningful way about John Nash, his theories, or his demons.
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Description of A Beautiful Mind (Full Screen Awards Edition)The thrilling and inspiring story of a brilliant and charismatic man ensnared by a mysterious conspiracy which takes his life and mind to places he never imagined. Studio: Uni Dist Corp. (mca) Release Date: 01/17/2006 Starring: Russell Crowe Jennifer Connelly Run time: 136 minutes Rating: Pg13 Director: Ron Howard A Beautiful Mind manages to twist enough pathos out of John Nash's incredible life story to redeem an at-times goofy portrayal of schizophrenia. Russell Crowe tackles the role with characteristic fervor, playing the Nobel prize-winning mathematician from his days at Princeton, where he developed a groundbreaking economic theory, to his meteoric rise to the cover of Forbes magazine and an MIT professorship, and on through to his eventual dismissal due to schizophrenic delusions. Of course, it is the delusions that fascinate director Ron Howard and, predictably, go astray. Nash's other world, populated as it is by a maniacal Department of Defense agent (Ed Harris), an imagined college roommate who seems straight out of Dead Poets Society, and an orphaned girl, is so fluid and scriptlike as to make the viewer wonder if schizophrenia is really as slick as depicted. Crowe's physical intensity drags us along as he works admirably to carry the film on his considerable shoulders. No doubt the story of Nash's amazing will to recover his life without the aid of medication is a worthy one, his eventual triumph heartening. Unfortunately, Howard's flashy style is unable to convey much of it. --Fionn Meade
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