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This movie contains an interesting blend of talents. On
main stage, we have the Oscar-winning (for GLADIATOR) and
Oscar-deserving (for THE INSIDER) megastar, Russell Crowe.
Directing the show, we get Ron Howard, in all his sporadic
excellence. And the man behind the words is the loathsome,
infamous screenwriter Akiva Goldsman (the bad BATMAN movies
and LOST IN SPACE). With this crew, it comes as no surprise
that the film is a glorious display of mediocrity.
The film tells the story of John Forbes Nash, Jr. (Crowe),
a mathematical genius who revolutionized the economics world
with his revisions of Smith’s principles. The story follows
his career through its ups and downs, ending anti-climactically
when Nash discovers that he’s always possessed that which
he seeks, a heart. (Awww, how sweet.) The movie is a smashing
tour-de-force of dopey sentimentalism, once and for all proving
that the power of science cannot contest the power of love.
Crowe is at his strongest ever. His performance possibly
surpasses THE INSIDER, yet the movie fails to carry him as
that one did. He is like the lineman who gives the best football
game of his career, but his teammates are unable to do anything
with it. The direction lacks innovation or significance. Ron
Howard employs the most boring dolly and crane movements I’ve
ever seen, including the oh-so clichéd time-passage
shot. Also, the warmth of the cinematography employed overrides
many of the film’s darkest, most troubled moments. Therefore
the fear and sadness of the characters are lost. If it weren’t
for the deity-like performance of Crowe, you would never be
able to feel the character’s pain. Crowe’s supporting
cast warrants few remarks. Connolly never convinces you why
she loves him, and Harris’s part amounts to a series
of cold looks and smooth monologues. The ensemble is forgotten
moments after leaving the screen.
Finally, we come to the script. To be fair, Goldsman’s
script far exceeds his previous accomplishments. There is
intrigue, one very strong character, and true emotion. And
only for a few moments does the script dip into overbearingly
cheesy mode. But it still lacks. Even at 135 minutes, Nash’s
life feels incomplete. The ending rushes to satisfy the audience’s
desire for closure but never gives proper weight to the significance
of the achievement. And for a story that focuses on the power
of love, the love has a wholly un-powerful effect. Despite
these shortcomings, Crowe nearly pulls it off. I even got
a lump in the throat at the end, before I realized that the
sentiment of the moment did not fit into the story. Perhaps
with a more creative director, this film could be Oscarworthy.
—Zack Schenkkan
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