AS GOOD AS IT GETS (1997) A Film Review by Ted Prigge Copyright 1997 Ted Prigge
Director: James L. Brooks Writers: Mark Andrus and James L. Brooks Starring: Jack Nicholson, Helen Hunt, Greg Kinnear, Shirley Knight, Cuba Gooding Jr, Skeet Ulrich, Jamie Kennedy, Yeardley Smith, Lupe Ontiveros, Jesse James
I love Jack Nicholson. It's not a sexual thing, but I just think he's the most interesting actor to watch do his schtick, especially when he's at his best. When he goes off, and his eyebrows go all schizoid, it somehow brings a giant grin to my face. I mean, this guy's more fun to describe than Steve Buscemi. "As Good As It Gets" is, among other things, a showcase for Nicholson's talents, getting the best performance from him since 1992's "A Few Good Men," and reminding us how wonderful and devilish this man can be.
Of course, it's also a poignant and interesting character study/comic drama from James L. Brooks, who is a master of balancing the touching with the hilarious. The films he has directed (like "Terms of Endearment" and "Brodcast News") and the TV shows he produces (like "Cheers" and "The Simpsons") all have a way of being comical all while being deeper than the usual piece of media. "As Good As It Gets" is also a reminder of how amazing Brooks is, while still managing to tell an intriguing story centering on a trio of people who form emotional bonds with one another over a short period of time.
The film's centerpiece is Melvin Uball (Nicholson), an obsessive/compulsive neurotic nightmare. He's a selfish, almost crazy man who writes trashy and popular romance novels for women (when asked by a female fan how he writes women so well, he rudely says "I take a man. Then I take away reason and accountability"...you saw the previews). He's a near agoraphobic, not letting anyone into his expensive and spacious apartment, being almost as paranoid of other people than Jerry Fletcher in "Conspiracy Theory." He's also an intense bigot - he's a racist, a snob, and a homophobe - and he shouts out insults to anyone who pisses him off in the slightest. This is a role that if Jack had turned down, the entire film would have had to stop production.
No one can tolerate Melvin, but one can take him in moderation. At the only restaurant he eats at, waitress Carol Connelly (Helen Hunt) is the only one who serves him, not only because she's the only one who Melvin lets serve him, but also because the other waitresses are deathly afraid of the man. A single mom, Carol suffers from being trapped in a bit of motherhood with her asthma-ridden son, and also living with her mother (Shirley Knight). The two slowly begin to share a mutual relationship, which slowly turns into unforced beginnings of love.
Also in his life, is his gay neighbor, Simon (Greg Kinnear), a painter who is beaten up severely by thugs trying to rob his flat towards the beginning. The two share a very heated relationship which slowly begins to develop into friendship. He also owns the dog Melvin throws into a garbage chute in the opening scene, which stays with Melvin for a couple weeks while Simon's in the hospital for his wounds. I just wanted to say that I really liked how the film didn't exploit his homosexuality a lot, and how it was only really brought up by slurs by Melvin.
The three characters drive the plot of the film, although we can already see where it's heading. We all know that by the end, Melvin will take the first steps in becoming a "better person;" that Carol and Melvin will begin a more...personal relationship; and that all three will be in love with eachother, in one way or another. But in 90% of films of all time, you can see exactly what the ending will be from the first ten or twenty minutes (or from the previews, these days). It's just a question of how it gets there.
And luckily, "As Good As It Gets" suceeds. The film may seem a bit forced at times, but it never overwhelms the feel or pace of the film. The characters never cease to be people, and we never stop caring about them. In most films, I could probably care less what happens to them if the plot didn't make me think otherwise. Here, James L. Brooks presents us with three people who I was really caring about throughout, which is shocking since one of them should get the "Archie Bunker" award for hostility towards everybody who's not himself.
The lead actors also do an amazing job (and have all received well-deserved Golden Globe nominations). Kinnear gives his best performance to date, showing that he's not just a cool, witty "Talk Soup" guy (or a "Smile Like Yours" guy). Hunt continues her tradition of doing good acting jobs (she was even pretty okay in "Twister"), and creates a beautifully layered human being. This is Oscar-nomination material here.
But Nicholson steals the film from everyone. No big shock. He is saddled with a role that no one else can do the way he does. The man is hated from everyone, but he's the lead, and he needs to be likable to the audience in order for people to care about him. And Nicholson doesn't fail. He makes Melvin Udall a lovable sonofabitch, which is no easy task, what with the dialogue he has to say at times. He also makes a human out of him, and gives one of the best performances of the year.
In smaller roles, Shirley Knight is awesome as Hunt's live-in mother, and Cuba Gooding Jr rocks in a small cameo-esque role as an art dealer who shows Simon's artwork. Also, look for Yeardley Smith in a tiny role, and "Scream" alumni Skeet Ulrich and Jamie Kennedy in the same frame.
The writing is very well done, with lots of zingers, and classic one-liners. There are scenes that are so delicately written that I just laughed hysterically, which I often don't do. And also, a lot of it actually sounds very human, which is always a nice touch.
Although it does have its flaws, "As Good As It Gets" is a very good comic drama which can please a crowd without becoming all mushy or distractingly funny, probably because it has delicate human touches to it. And my god, Nicholson's eyebrows...
MY RATING (out of 4): ***1/2
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