AS GOOD AS IT GETS (PG-13)
Directed by James L. Brooks Running Time: 138 minutes Originally Released: December 25, 1997 (USA-wide)
Reviewed by E. Benjamin Kelsey
* * * * (out of four)
Leave it to Jack Nicholson to make one of the most repugnant, most disgraceful, most politically incorrect characters of recent memory into one of the most enjoyable, most likeable, and most captivating characters of the year. I'm speaking of none other than Melvin Udall, Nicholson's latest persona, in the James L. Brooks film AS GOOD AS IT GETS.
So what is it that makes Melvin so despicable? Well where do we begin? True, we're not likely to see Nicholson in a John Hughes film or playing Mr. Rogers in a big screen adaption of the children's show (or a mixture of the two!), but Melvin is particularly vicious - even for Nicholson. Does he tear down doors with an axe? No. Is he Satan? No. But the comments Melvin spouts off were even able to derive synchronous moans of disbelief from a packed movie theater, and, at times, laughs just as hearty.
An obsessive-compulsive romance novelist, Melvin resides in an apartment building where he shares a mutual disdain for his fellow tenants, particulary with neighboring gay artist, Simon Bishop (Greg Kinnear). Simon's pet dog Verdell is the center of the rivalry, and when Verdell attempts to mark his territory one last time, Melvin winds up throwing the dog down a garbage chute. The dog is safely recovered, but it's obvious who the culprit is, and with dignity, and a fair amount of fear, Simon approaches Melvin about it. The only thing accomplished is a two-minute rip into Simon's homosexual lifestyle as Melvin delivers one of the first harsh politically-incorrect speeches of the film.
It's hard to imagine Melvin feeling a need for anyone, even if it is in a selfish manner. This is the case with Carol Connelly (Helen Hunt), a single mother who also happens to be the only waitress Melvin can handle having serve him (which is good because no other waitresses are willing to do it). On a daily basis, at a regular time, Melvin finds himself at the restaurant Carol works at, and if his usual table is occupied, you can expect a slew of insults will be thrown at the "trespassers" until it's vacated. Through casual eavesdropping, Melvin knows that Carol's son is critically ill, and while this begins as an obstacle to their relationship, it will eventually result in a closer bond between the two.
That's the gist of it. AS GOOD AS IT GETS is a rich blend of romantic-comedy and character study. The cast here is impeccable, and nobody turns in a second rate performance. Kinnear, who has never had reason to boast, is Oscar territory here. When Simon is badly beaten in a botched robbery attempt, the pain he endures is hard to watch, and Melvin's essentially uncontrollable lack of sympathy can nearly bring tears to your eyes. In fact, Kinnear's character might just rival the dog in terms of the hug-appeal. Also showing up is Cuba Gooding Jr. who won an Oscar for his role in JERRY MAGUIRE. Here he plays Simon's art dealer, and likely more, Frank Sachs. Gooding's role isn't as prevalent as commercials would have you believe, but when he's onscreen, he's highly commendable.
The real stars here are Helen Hunt and Jack Nicholson. Hunt has never been so outstanding, and she seems perfect for this role. Naturally she can't outshine Nicholson, but who can? Realizing she's playing second fiddle to such an icon only makes her terrific performance all the more praiseworthy. Nicholson is finally back in a role that balances on his incredible acting talents. Without him, Melvin would not have been Melvin, and the movie very likely could be less than mediocre. He carries that much weight. As many recent Oscar-caliber performances as there's been, none scream it as loudly as Nicholson. Although I hailed TITANIC as a leader for Oscar nominations, Nicholson *should* beat out all others in the Best Actor category. I've said it before and I'll say it again, nobody else, and I mean *nobody* else, could've done this role justice.
Mark Andrus and James L. Brooks put together one of the freshest scripts Hollywood has seen in a while, particularly in a romantic-comedy. 1997 has been particulary shallow in that market, with the best being FOOLS RUSH IN and the under-appreciated PICTURE PERFECT. Although MY BEST FRIEND'S WEDDING is getting all the hype (at least when discussing romantic-comedies), it is the uniqueness of AS GOOD AS IT GETS that will (and should) win audiences over. It's a sharp contrast to the usual "hip" sex comedies being pawned off as romantic-comedies, and it doesn't star two mid-twenties models who fall immediately in love and sleep with each other in the course of one evening. Thankfully, AS GOOD AS IT GETS is something new in that department, and sensible people will applaud the effort (successful effort mind you) of creating a more genuine onscreen romance.
It's obviously going to be an overused sound-bite, but AS GOOD AS IT GETS truly *is* as good as it gets. If you can read more than two reviews without hearing that, I'll be amazed. And although I hate to fall victim to such an obvious cliché, it's never been so accurate as in this case. AS GOOD AS IT GETS' two-hour plus running time isn't likely to depreciate your movie going experience. It's a particular comfort, when so many 80-minute movies can feel way too long, to have a film like this come out - one that can keep your attention, and help you escape reality, for a priceless two hours. So what's the harm in going an extra eighteen minutes? If you're able to do it successfully, as James L. Brooks so nicely has, then it's all the better.
December 31, 1997
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