Mr. Jones

Fearing the worst, but realizing Mike Figgis had directed it, I decided to take a look at this 1993 picture. Never saw it in its commercial release, as it didn't stay in theaters for a long time.

This is a film about a man who is mentally unbalanced. Who could ever know what goes on in the mind of a person with a problem such as the one that afflicts Mr. Jones, the strange character that seems to be on a permanent high, as he is introduced in the first scenes of the movie.

Individuals such as Mr. Jones, in real life, go from one state of euphoria to periods of great depression. This is a study about a man that is breaking down in front of our eyes and no one has a clue of what to do with him. Eric Roth, the screen writer, seems to be telling us that hospitals such as where Mr. Jones is taken to, can do more harm than good. Evidently medicine given to these patients could well contribute to aggravate their condition.

It's only through the encounter of Jones with the psychiatrist, Dr. Bowen, that he is correctly diagnosed. In treating this man, Libby, ends up falling in love with a person who might never be cured and will live forever in a world of his own, where no one else can enter, or no one can shed any light about what will cure his condition.

Richard Gere's portrayal of Mr. Jones was quite a departure from the roles he chooses to play, usually. He makes this man compelling, as we feel sorry for what's going on in his mind. Lena Olin, is also good as the shrink that understands what's in Jones' mind. Delroy Lindo, makes another great appearance as Howard, the man who befriends the mysterious man and tries to help him. Anne Bancroft as the director of the institution doesn't have much to do.

The film, although a bit long, is never boring. It will keep any viewer interested in what will happen next, as the people suffering this disease go through all the changes caused by what is going on in their minds.

I am really surprised to see such low ratings for this film. I think it's a great insight of how people who are affected by manic depression feel and how difficult can be the job of physicians in treating them. Moreover Richard Gere's interpretation is a masterpiece. He shows both the vulnerability of an exhausted and sad man in search of understanding and acceptance, and also of course his celebrated coolness and savoir-faire with women in the character's exuberant spells. I found the picture really pleasant, funny at times and shockingly real and dramatic and full of pathos. Despite the numerous clichés (..) and the frequent fades-away which, in my opinion, manifest a little hastiness by the director, I found the picture full of hope. Sometimes we forget the complexity of the human psyche. A man can endure at times ecstatic bliss and at others dreadful despair. I guess it's the price to pay for being extremely sensitive. Or just a little crazy.

I had the pleasure and privilege of seeing Mike Figgis' original cut at the Munich Filmfestival, and liked it a lot. To be honest, I had liked the version that came out in 1993, although I had heard rumors of re-shoots and Figgis not having final cut - and although there were some ridiculous scenes in it. Figgis' version is more believable, albeit darker, but that does make sense, since it is about a manic depressive. Richard Gere is pretty impressive, and it is one of the few times that he's still good when he's doing his free-wheeling high-wire act. But the saddest part about "Mr. Jones" not being recognized for its great moments is the understated performance of Lena Olin, who is almost as good as in "The Unbearable Lightness of Being" (1988) and in the second season of "Alias".

There's one thing about "Mr. Jones" that's better than the movie itself: the story behind the film. Figgis has incredible stories to tell about the production of the movie and we can only hope that one day he'll share them with us in detail in a book, because it says a lot about Hollywood and its inability to cope with non-mainstream themes.

Based on the first few minutes, I was expecting a comedy about a happy-go-lucky construction worker who displays unconventional behavior. Even after his first trip to a mental hospital, I figured this would be a romantic comedy about a fun guy and the pretty female psychiatrist who wants to prove he's wacko.

Actually, she is right about him. He is manic-depressive. The man who only refers to himself as "Mr. Jones" doesn't believe he is manic-depressive because he would have to get depressed. We haven't seen it and surely it's not true, right? Wrong. This is a very troubled man. He will need a lot of care, and we must be prepared to go through some hard times with him.

Richard Gere did a very good job. Naturally, I liked him best when he was fun. His character seems "normal" because this is a movie, but that soon changes. Gere effectively shows a wide range of personality styles, though this is nothing groundbreaking.

Delroy Lindo is a standout performer as Howard, the co-worker who apparently saves Mr. Jones' life. Although they work together less than a full day (I assume), they become close friends. Some of my favorite scenes have Gere and Lindo together.

Baha Jackson does a good job as Howard's son.

Lauren Tom briefly appears as a bubbly, fast-talking, excited patient. Too bubbly. She's going to have to crash--and she does.

Whether you like this movie or not depends on whether you want comedy or drama. I found enough scenes enjoyable.

In this intense and emotional tale of compassion, rescue and love, director Mike Figgis portrays the antithesis of the Richard Gere he had shown us three years before Mr. Jones' release: A needy, fragile, unstable yet creative and fascinating character versus the sinister, cold-blooded and self-confident officer Dennis Peck in Internal Affairs.

Gere's ability to absorb the script and bring it to life through his inimitable histrionic demeanor has once again amazed me, bringing me into the scene as if I were observing from behind the camera. Another example of a woman assisting a man throughout his struggle is Figgis' Leavign Las Vegas, where Elizabeth Shue chooses to be by Nicholas Cages' side, with the exception of a very sad ending (In this case we had pills instead of bottles). From Final Analysis, Gear switches into the patient's role, making us hold our breath and, needless to say, get a good use out of our handkerchiefs.