Qualcosa è cambiato

Really, how to make something original, fresh and odd out of absolutely nothing except a few characters? Using characters, only characters and nothing except characters. That's the simple formula Brooks uses in all of his work, but, for me, he has never created so much charm, warmth and sensibility as he did in `As good as it gets'.

Characters write the screenplay in this movie, and everything that happens - happens because of what they are. They are nothing special – they are ordinary people we meet in the street every day and that have the same problems a lot of other people have. This movie presents the example of how much you can pull out of that. And if that is written as well as it is in this case, not even a happy ending can bother you. Because, in real life, shown here, what is the end?

Everything is good and warm in this movie, everything is fresh and vivacious, understandable and well performed. Jack Nicholson brings one of the best performances of his career, that terrific Helen Hunt finally got a chance to show how skilfully an actor can connect naturalism with the laws of the camera performance, and Greg Kinnear shows the most convincing emotions coming from a gay character I've ever seen.

The relationships between the characters are created in the way that you can't predict anything that's going to happen, eventhough you know in advance what could come out of their mouth and what kind of attitude they'll have in a certain situation.

You can simply feel the progressive collaboration that occurred between Brooks and the actors and the mutual understanding they developed, and it's not often that you see that kind of artistic superstructure shining on the screen so much as it does here.

I find `As good as it gets' complexed, vital, intelligent, emotionally deep and studied, fresh, original, amusing, cheerful, funny, and one of the best films of 1997.

As Good As It Gets is one of those incredibly moving films that is also hugely entertaining. It's not just a comedy, you can't quite label it a drama piece, it just is what it is; simply great.

What works here so well are the actors and the script. Nicholson and Hunt both won Oscars and they're simply great but Kinnear is no less effective as Nicholson gay neighbour. Plus that dog is amazing as well. This film really relies on great performances and there's no shortage of that here.

As Good As It Gets is also remarkably well written. So well defined characters and completely involving, you quite simply grow to love them and sympathize with their plight. Nicholson's remarks are terrific, each one very quotable (personal fav; I think of a man and I take away reason and accountability).

Direction is first rate, Brooks made Terms of Endearment so it's well established that he's quite capable of making great films. As Good As It Gets is very nearly as good it gets.

"You make me want to be a better man."

I finally got around to watching this touching and funny film directed by James L. Brooks that stands out thanks to some wonderful performances and memorable characters. As Good As it Gets is proof that actions are louder than words because despite how cruel and mean Nicholson's character is, he does incredible and kind things for others. In a way this film reminded me of David O. Russell's Silver Linings Playbook as I found both films to be difficult to follow at first due to the lack of a likable character, but once we get to know who these people are we forgive their flaws and end up routing for them. Both Nicholson and Helen Hunt give excellent performances, and their Oscar wins were well deserved in my opinion. As Good As it Gets is the very definition of charm, and the screenplay written by Mark Andrus (Life As a House) shines thanks to some incredible performances. I really enjoyed this film and found myself laughing through most of the scenes. This is one more film I can eliminate from my shame list, and I'm glad I finally got to experience this romantic comedy which also has a lot to say about overcoming illness.

We are introduced to Melvin Udall (Jack Nicholson), a cranky but successful author who suffers from OCD. He lives on his own in a beautiful apartment where he spends most of his time writing. He always goes out on his daily breakfast ritual which consists of walking to a nearby cafe without touching anyone or stepping on any cracks. He always sits in the same place at the cafe and always demands to be served by the same waitress, whose name is Carol (Helen Hunt). Carol is actually the only one in the cafe who stands his constant outbursts and cruel comments. Melvin's daily routine changes through two events that end up affecting his life. First, his homosexual artist neighbor named Simon (Greg Kinnear) suffers an accident and Melvin unwillingly accepts to take care of his dog in his absence. Second, Carol's son, Spencer (Jesse James) gets ill and she quits her job. Not accepting the fact that Carol isn't there to serve him, Melvin tries to find her in order to restore order back to his life. These series of events force Melvin to change his routine and at the same time he forms an unlikely friendship with Carol and Simon proving that he isn't as bad as he seems to be.

The performances by each one of the talented actors are the heart and motor of this film. Jack Nicholson and Helen Hunt share an incredible chemistry together. It's funny how despite never being able to share his feelings towards her and always saying the wrong things, it becomes clear that she does inspire him to become a better person. The supporting cast is also incredible here, especially Greg Kinnear and Cuba Gooding Jr. who deliver several funny scenes. I was partial to Brooks's work considering I had only seen How Do You Know which didn't work for me and Spanglish which I did enjoy, but As Good As it Gets is without a doubt his best work thanks to an unbelievable cast. This is a smart and funny film, which also could be cruel at times, but it was well balanced. Despite the schmaltzy story it still worked thanks to the characters that carried this film. It's hard not to leave this film with a smile on your face.

It's ironic that the ways in which this seems to have aged poorly-Melvin being homophobic, casually racist, and more-has actually made this movie more relevant. It forces you to think about every main character and the main theme is transparent and codified in dialogue: "You look at someone long enough, you discover their humanity."

A lot of reviews condemn Melvin, but the film actually never asks the question as to whether or not Melvin, in particular, deserves pity, sympathy, and empathy. Because everyone deserves that, even people like him. There is not any real altruism instilled in him, or arguably anybody, but simply by proxy, empathy and love is a transformative experience for everyone involved. That's what the move is about.

Not only that, but adjacent to OCD, which Melvin has, is Tourette's syndrome. I wish it had gone into whether or not any of his verbal compulsions stem from that, but it seems to imply that. Regardless, though, I think that his working toward reparations and his actions speak louder than his words. Surely a remote viewer of an audience can work to extend that kind of empathy to someone who is very challenging to extend it toward? In the time of political polarization and cancel culture and the like, regardless of how you feel about the message of the film, it is more pertinent and interesting and dynamic than most comedies. And no comedy is quite like this, that I've seen.

... which is rather strange since it is one of only seven films to win both Best Actor and Best Actress Oscars for its leads. But it is rather quirky and offbeat with unusual subject matter for a romantic comedy.

Melvin Udall (Jack Nicholson) is a misanthropic and obsessive-compulsive novelist living in New York City. He is abrasive and self absorbed past the point that being OCD could just explain it, or even being misanthropic. He goes out of his way to insult his neighbor, Simon Bishop (Greg Kinnear), a gay artist. And he also throws Simon's dog down the building's garbage chute. I'm a misanthrope, but I don't go around hurling slurs at people or hurting animals.

Among Melvin's compulsions is eating breakfast at a specific diner with a specific waitress, Carol Connely (Helen Hunt). Carol knows how to serve breakfast the specific way that will keep Melvin from having a conniption fit. But Carol's only son has a complicated allergy/asthma situation that her HMO doctors either aren't competent to diagnose or don't have the time to dedicate to solving it, so she's been missing work when her son is ill.

At the same time Simon is looking for subjects to pose for him when he sculpts, and he hires a model who turns out to have violent criminal tendencies and badly injures him.

These events all work to draw these three people together in a most interesting way, and they each wind up helping each other with their problems in unexpected ways.

The film's portrayal of New York City is as vibrant as its characters. The cinematography captures the energy and charm of the city, immersing viewers in its unique atmosphere and acts as a snapshot of New York City as it existed in the late 90s when it was going through a bit of a renaissance.

Special kudos to Cuba Gooding Jr. As Simon's agent who knows how to deal with Melvin by going into scary threatening mode. And also to Simon's dog, who winds up being a catalyst for change in Melvin. The dog should at least have gotten a supporting actor nomination.