Uma Mente Brilhante

Ed Harris, Russel Crowe, Jennifer Connelly, and Paul Bettany were terrific.

The film had great balance and is worth a viewing.

The story boldly addresses mental illness as a handicap.

Because of the quality of the acting and directing, this movie is a beacon of hope for people of all disabilities. The film illustrates to the viewer how deeply a handicap can infiltrate the domestic, professional, and personal lives of those unfortunate to have these types of issues. I hope Ron Howard and the acting crew can get together again for something similar. This was a great film, that also serves an important role for awareness to people that might not understand how deeply debilitating these issues can be, and also gets the message across that not all should be marginalized.

for some unknown reasons, i almost never liked crowe until i saw this movie. He played the role so beautifully and totally absorbed into being john nash rather that just a typical Hollywood actor. I bet he must have done his homework thousand times before finally bring it to the screen. The way he walks, the way he slide himself between the gate at the abandoned warehouse where he thought was a Russian secret movement operation center, the way he talks, in fact, everything, was portrayed perfectly that it actually concealed that very russell crowe that i never actually liked.

The movie was somehow close to me as my uncle, who was a genius,also suffered from schizophrenia, but passed away years ago. I cried when nash was seen sitting on his house balcony because i remembered that was how my uncle used to sit for hours, solving puzzles. the only difference is that, nash had all the chances and supports from peers and the society but my uncle never did. It was a shame.

Connelly was good as ever, and she had always seen carrying this type of role. Loving yet not so mushy, smart yet vulnerable at time.

Despites all the comments about the movie not being so realistic and not really based on the facts of Nash, i still think it deserves one the of the most beautiful movies i had ever watched.

"A Beautiful Mind" is an exceptional story, but it is only and exceptional film because of its director. Ron Howard does an amazing job of engaging his audience, introducing a brilliant main character, and making the audience experience the reality of mental illness. This could have been an unbelievable story to which very people could relate; however, the directorial mastery Howard exhibits throughout allows the audience to accompany Nash on his journey and awareness of his illness. Anyone who has been close to the frailties of the human mind will appreciate how respectfully and honestly this film approaches the subject. Howard is able to portray all the complex reactions to mental illness while maintaining the humanity and dignity of the patient. Superbly directed, wonderfully acted by Crowe and cast, this film succeeds on every level.

A Beautiful Mind

Director Ron Howard has experience in playing with his audience's heartstrings. Remember in Apollo 13, when the fate of the astronauts was uncertain? (Ok, so if you remember your recent history, you knew.... but still!) Or remember in Parenthood, when Steve Martin's kid was about to make the crucial catch? Ol Opie can still pluck those strings with the best of them. (And you know, he'll never stop being called Opie, even by those of us who never saw The Andy Griffith Show during its initial run.) And plucking heartstrings is not a bad thing at all, not when you can do it in such a sincere, noncloying way as the masterful Beautiful Mind presents to its viewers.

John Nash is a mathematics prodigy who has a decided knack at solving previously unsolvable problems. He's socially dysfunctional, rarely looking anyone in the eye, but pours all of his energy - and soul - into producing one original idea, an idea that will distinguish him from all of the other mathemathical minds at Princeton University.

But John, like most who have had movies made about them, had his ups and downs. He meets and falls for a beautiful student of his named Alicia (Jennifer Connelly), and they produce a baby. But John also suffers from tremendous delusions and is diagnosed with a form of schizophrenia. Schizophrenia's a tough disease, folks - it's still not fully understood, and Nash was diagnosed with it in the middle of last century. He spends time in a sanitarium, as doctors struggle to find a cure.

Russell Crowe is absolutely powerful as the confused and confusing Nash. Although the marquee says "Russell Crowe", you'll immediately forget this is the hunky guy from Gladiator. I mean after all, he's playing some nerdy scientist dude! But Crowe completely disappears in the role, and he's unforgettable. Actors kill for roles like this one, because it gives them a chance to show off their acting chops. For many actors, this is the kiss of death, because then they're exposed as poor thespians. But not for Crowe; if anything, this proves once and for all that he's a grand master of acting. I realize that sounds like overkill for him, but I think that when actors are labeled as a "hunk" - their skills as actors aren't seen as very substantial. Hey, looking darn good worked against Tom Selleck, and to a degree it has worked against Crowe as well.

And he ages well, too. The movie takes place over a fairly extended period of time, ending with Nash's acceptance of the Nobel Prize in 1994. The makeup on Nash is neither garish nor schmaltzy; he looks completely genuine. And that's the essence of Crowe's performance. It's sincere, never trying to win over the audience with a sly wink here or a toss of the hair there. Crowe shows remarkable poise, elegance, and is utterly astounding in the role.

His supporting cast is more than able. Jennifer Connelly is better than I thought she would be; in most roles, she's the eye candy. But this role had meat to it, and she held her own. It wasn't an easy role to play, and she pulled it off. And her scenes with Crowe do have that movie magic that each of us looks for when we go to movies, that one moment, that compatible chemistry that leaves audiences mesmerized.

And yes, this does have some very, very touching moments. The final scene, while predictable (even if you don't know the outcome in real life), will bring more than one tear to the eye. Yes, I'll admit it, it got me right here. But it's okay; I did that old 'guy-crying-in-movie-theater' trick. If you feel the brime falling from the lid, you make a motion toward your cheek and then you scratch vigorously; people might think you have a skin infection and move away slowly, but at least they won't think you're a girly man.

At any rate, it's certainly one of the best movies of the year. Everything's in place: the direction, the photography, and especially the acting.

'A Beautiful Mind' had a lot going for it. An intriguing story based on an interesting man, a great cast full of talented actors, the involvement of James Horner and Roger Deakins (perhaps one of the best modern cinematographers in the business) and Ron Howard as director (a very competent director with some great films under his belt, directing always with a lot of quality and polish if not always distinction).

Finally seeing it, always wanting to but never quite having the time, 'A Beautiful Mind' was to me a good, often very good, film, if not quite great. Of its four Oscar wins, Connelly and adapted screenplay (on the most part) were worthy wins, though there were better contenders in the Best Picture and Director categories, 'Fellowship of the Ring' for Best Picture and David Lynch for 'Mulholland Drive' for director. Again, from personal opinion, 'A Beautiful Mind's' Oscar nominations were worthier of wins generally, especially Russell Crowe for Best Picture, make-up and the film editing, cinematography also should have been under serious consideration.

There are a few things that stop 'A Beautiful Mind' from being great. Pacing can be messy, feeling rushed in some spots and then dragging in others. Admittedly though there were other places where it was perfect.

Do agree with the portrayal of schizophrenia being problematic, it is a sensitive and courageous subject to address but those with schizophrenia and mental illness in general will find problems with how it's portrayed. It is a complex and often frightening illness, that the film tries to take seriously and sensitively, but it just felt too clean and like it was being careful not to offend but ended up being too careful. Other aspects are heavy-handed.

The espionage subplot was intriguing mostly and gave some powerful conflict, at the same time parts not quite gelling with the rest of the film and feeling a little confused.

However, 'A Beautiful Mind' for want of a better word looks absolutely beautiful. The cinematography with the vibrant colours and seamless fluidity was one of the best of its year, and the period detail remarkably evocative and a joy to look at. James Horner's score has garnered mixed views, mostly leaning on the positive, personally though it added a lot to the emotional power of the film, swelled thrillingly and was beautifully and cleverly orchestrated, didn't think it was melodramatic at all.

'A Beautiful Mind's' adapted screenplay really makes one think while also capturing a wide range of emotions, more than making up for the lack of accuracy. The story is compelling on the most part with a spot on portrayal of mathematics, something that was praised by the maths community at the time including John Nash. It is very moving and uplifting, many scenes dealt with powerfully.

Ron Howard's direction is some of the best he's done. As ever from him it is rich in quality and polish but it also is some of his most distinguished and shows that he can direct with distinction (even if he doesn't always elsewhere.

Can't praise the cast enough, along with the visuals it is the best aspect of the film. It is impossible to find fault with the powerhouse and perhaps career best performance of Russell Crowe, while Jennifer Connelly is touching in a loyal and sympathetically written role (even if not as challenging as a few of her other roles such as in 'Requiem for a Dream'.

Ed Harris is chillingly malevolent, while the rarely less than game Paul Bettany and Adam Goldberg charm and Judd Hirsch and Christopher Plummer also not putting a foot wrong.

In conclusion, admirable and extremely well made, directed and acted with a sizeable range of emotions, if missing the mark of being a "great" film instead of a good and often very good film and not doing enough justice to a great man and his life. The divisiveness is understandable. 7/10 Bethany Cox