À la recherche de Bobby Fischer

Josh Waitzkin is a regular boy in NYC who quickly picks up the game of chess. He befriends chess hustler Vinnie (Laurence Fishburne) who plays in Washington Square. Josh's parents (Joe Mantegna, Joan Allen) hire chess coach Bruce Pandolfini (Ben Kingsley) who tries to teach him regimented chess. It's a struggle for Josh's heart between his two mentors Vinnie and Bruce.

This is truly a wonderful movie. It is all heart. Max Pomeranc plays it with so much feeling with so few words. I love that he deliberately loses to his father at the start. He's a boy who is trying to grow up and many times, he shows that he's actually the adult in the relationships. Director Steven Zaillian makes so many great moves. And the great actors are all doing their parts. It's a really sweet movie.

There are few movies I would call perfect in terms of script, photography, performance, and continuity. This is one of them. I have watched this film at least 8 times, and have seen something new in it every time.

This is based on a true story, and it is much more than a movie about parents demanding time, effort, and sacrifice of a child chess prodigy. This is about a seven-year-old boy who knows who he is, and resists adults attempts to make him into someone he is not. Max Pomeranc gives about the best performance I have ever seen by a child actor in the role of Joshua Waitzkin. Fortunately, Josh has a mother (played by Joan Allen) who recognizes Josh's innate goodness and protects him from those who want to change him. This movie is about a father (Joe Mangtegna) learning to respect and appreciate who his son is, instead of trying to make him into something he isn't.

I had seen the movie three times before I understood the title. The adults are searching for "the next Bobbie Fischer" (a television reporter in the film uses those words). Josh Waitzkin asserts to his teacher "I'm not him."

Watch this movie with your children!

_Searching for Bobby Fischer_ is possessive of a certain wonderful insight; it is a film that offers no heart-warming premeses and still manages to ease the soul.

The characters dwell in an utterly contemporary world; you will find no neighbors hauling in bags of money, chiming churchbells, perfect families, or million-dollar smiles anywhere in the film. At the same time, this world of this film exhibits a resilience against its crueler realities that most of the art of the twentieth century eschewed in favor of probing the darkness of existence. Yes, the main characters are prosperous, but the spectre of Fischer hangs over the world as a daunting warning of things to come. The mood of the piece, enhanced by the excellent cinematography, sets the film up to succeed wonderfully, and the actors and text deliver.

One of the things I like the most about this movie, superficially, is that it does not insult the game of chess as it depicts it. The depiction of the chess world is insightful and accurate, from the sharp division between granite-hewn chess scholars and colorful tactical wizards to the truly unequaled awe and gravity accompanying the notion of the Grandmaster. Perhaps these are things that can only truly be appreciated by those who have ventured to this world, but, thankfully, the film integrates these elements seamlessly into a universal story that is original and poignant in its detail and elegance.

Every actor in this film is spectacular, without exception. That is a bold statement, but it is completely justified. At no point do any of the actors miss a step; all the performances are smooth and appear to be utterly effortless. In their featured roles, Ben Kingsley and Lawrence Fishburne put in performances that match in art, craft, and intensity, if not in length, any of their more prominent film roles. Joan Allen is mind-bogglingly wonderful, considering how precise she has to be to fit such a massive character into such a truncated part in the script. This is Joe Mantena's very finest performance, and, of course, this movie contains child acting to match any film ever made. Even the bit parts are acted with intensity, depth, and elegance. A lot of this is easy to miss because, on the surface, the film is so even-handed, but repeated viewings continually bring to attention wonderful nuances of these performances.

Any summary or synopsis will fail to accurately relate the "message" of this film; as in any great work of art, the quickest, most efficient way to word the resolution of the film's ideas and conflicts is to watch the film. This is where _Searching for Bobby Fischer_ really shines. There is no way these characters could have ended up where they are from any other sequence of events than the one that took place; this is a wonderful example of how a plot is woven into a story rather than imposed on it. The flipside of this is that there is extremely little to be found in this film that can be applied universally without reservation, and yet it still manages to be convincing. There is something mysterious about this movie that rises toward the staggering mysteries of life, and repeated viewings are really the only means toward a full understanding of these ideas.

Undoubtedly, this is the best film made in the 1990s based on a true story (if you, like me, discount _Schindler's List_ from such assessments. It hardly seems fair to compare _Schindler's List_ to any other film due to its unique purpose.). If you have not seen it, I highly recommend it. It may just change your life.

For chessplayers and non-chessplayers alike, this is a secret gem of a movie.

Anyone who have watched Josh Waitzkin's tutorials in the Chessmaster computer-game will probably have done some research into who he is, and probably this movie will have popped up somewhere in your search.

For all of you who have found the movie that way: Go rent or buy it.

For all the rest: Go rent or buy it.

Why?: Cause it's not really about chess at all. It's a story about a 7 year old kid, taking a very keen interest in a hobby (and being VERY, VERY good at it), and also a story of his family and teachers pressuring him.

Besides a strong cast of people like Fishburn, Kingsley and Montegna, it also has some humorous moment (like the tuna-sandwich guy (William H. Macy)).

All in all, very watchable for everyone, and one of the first movies I've felt like commenting on here.

Only drawback: The link to Fischer was unnecessary, and doesn't add anything to the movie.

In SEARCHING FOR BOBBY FISCHER, Steven Zaillian's is the most complete and near-flawless film-work of the 1990s. I can't say merely "director's work" because he also wrote the screenplay. And (I have to presume) he chose Conrad Hall as d.p., James Horner for the music, Wayne Wahrman as film-editor, and he worked with a lighting director, sound director, set director and more -- each of whom did a job worthy of the highest praise. And the cast, the supernal cast -- many of whom have had larger and more celebrated roles, but none of whom has ever nailed a role more satisfyingly -- Kingsley, Mantegna, Allen, Fishburne -- even the smaller and cameo bits are effectively faultless -- by Linney, Stephens, Shalhoub, Pendleton. And of course, Pomeranc's work is a kind of miracle. Every part of it evokes from me applause for Zaillian's imagination, sensibility, knowledgeability, intelligence, judgment.

I confess I post this comment because none of the other comments I've seen on SEARCHING seems to me to realize how much Zaillian must have contributed to making this -- and I think it deserves this adjective -- GREAT movie. (I further confess I didn't first watch the movie until some three years after its debut because of its title. I was damned if I wanted to spend two hours in the presence of someone as nasty-seeming as Fischer. But the title of course was Fred Waitzkin's, the author of the source book. Fred, you cost me a few years -- but Steven Zaillian has made up for it many times over.)