I wanted "As
Good As It Gets" to transcend its common roots
and become one of the truly great American
films. I wanted to leave the theatre and find
myself joining the film's endless love parade of
admirers who sing its praises of
authenticity, rich humanity and complex
characterizations. I wanted to surrender to the
film...desperately wanted to surrender to it.
It didn't happen.
James L. Brooks has made a career out of richly
human, multi-faceted characters placed in
everyday places resulting in extraordinary
situations. "As Good As It Gets" is no exception
to this pattern and, yet, it feels constantly
like Brooks is holding these characters back
from their full expression. It is almost painful
at times to watch, knowing that the entire
leading cast is capable of cinematic greatness
and, while they offer brilliant performances,
they never quite achieve the greatness they so
profoundly deserve here.
The film centers around a nearly perfect role
for Jack Nicholson. As Melvin Udall, Nicholson
gets to display his acting chops with a
character that bounces between hateful,
spiteful, angry, sad, funny, charming and
downright loving. It is a role that is tailor
made for Nicholson, who can communicate more
with a mere look than many actors can manifest
with an entire screenplay of dialogue. Melvin
leads a rather ordinary life where he lives in a
building where he hates everyone, creates
animosity in the only restaurant that will have
him and, in reality, only seems to be connected
to one waitress who, somehow, tolerates him.
This waitress, Carol, is played by Oscar winner
Helen Hunt in a role of subtle depth and
unexpected complexity. It would have been easy
for Hunt to create a few basic emotions for this
character...sarcastic and defensive when
Melvin's being a jerk...compassionate and caring
when he's not. Yet, Carol exhibits a richness of
humanity that makes ALMOST tolerable their
blossoming romance. The reality is that I never
once bought into their attraction to the point
that it became a distraction. Much more
believable were Nicholson's scenes with Greg
Kinnear, a gay neighbor with whom conflict
becomes genuine friendship.
I've never been a moviegoer content with the
stereotypical "happy ending." In "As Good As It
Gets," a happy ending feels particularly out of
place with characters who have spent much of
their lives either sabotaging their happy
endings or simply living out their
self-fulfilling prophecies. In his review of "As
Good As It Gets," Roger Ebert notes that it
sometimes feels like these characters are being
dragged "kicking and screaming" towards their
happy ending. In some ways, it feels like some
studio exec sat in a room at the end of the film
and said "We spent $50 million and the
characters have to be happy at the end." The
ending feels rushed, forced and awkward.
Instead, an approach similar to another great
Hunt performance, "The Waterdance," feels
appropriate. In "The Waterdance," each character
is allowed resolution that is mixed with bits
and pieces of happiness BUT also touches of
reality.
"As Good As It Gets" is a good film, a damn good
film, screaming out for greatness. Oscar nominee
Greg Kinnear and Oscar winners Nicholson and
Hunt offer wonderful performances and Brooks
adds his typical writing and directing
flourishes resulting in a film that is touching,
insightful and entertaining but definitely
not as good as it gets
©
Written by Richard Propes
TC Candler's Comment
Three really
good performances highlight this quirky love
story. I enjoyed the film immensely but
I've never felt the need to revisit it.
Jacob
Hall's Comment
N/A
