'As Good As It Gets' rebels with extraordinariness<\/p>\n
By Rayya Makarim<\/p>\n
JAKARTA (JP): The opening scene of As Good As It Gets shows
\nMelvin Udall (Jack Nicholson), a romance novelist, hurling his
\nneighbor's dog down the garbage chute. In the next 15 minutes,
\nMelvin proceeds to insult everyone in sight, turn his door lock
\nfive times, throw away bars of soap after one use, avoid cracks
\non the sidewalk, and dine out taking along his own plastic
\nutensils.<\/p>\n
When asked how he writes the female character so convincingly,
\nhe replies with an evil smirk, \"I think of a man, and I take away
\nreason and accountability.\" Do we really want to continue
\nwatching this film? Most definitely!<\/p>\n
Old-time hyphenate: director-writer-producer James L. Brooks
\nis a three-time Academy Award winner who brought to the screen
\nsuch achievements as Terms of Endearment and Broadcast News. This
\nyear, he is back with a film that has an incredible cast, an
\nunconventional love story, and seven Oscar nominations for Best
\nPicture, Best Actor. Best Actress, Best Supporting Actor, Best
\nOriginal Screenplay, Best film editing and Best Musical or Comedy
\nScore.<\/p>\n
The Academy Awards will be presented tomorrow in Los Angeles.<\/p>\n
As Good As It Gets revolves around three extraordinary
\ncharacters that find their lives strangely intertwined. Melvin is
\na recluse in his Manhattan apartment and suffers from an
\nobsessive-compulsive disorder.<\/p>\n
He rails against blacks and Jews, and cringes when another
\nperson touches him. Part of Melvin's daily ritual is brunch at a
\nnearby cafe where Carol Connelly (Helen Hunt) is a waitress, his
\nonly contact with humankind, and the only person who can deal
\nwith his behavior.<\/p>\n
Meanwhile, Melvin's neighbor, Simon Nye (Greg Kinnear), who
\nfor antagonistic purposes is a gay artist, is robbed and battered
\nin his apartment, a perfect vehicle to get these three together.
\nMelvin is forced to take care of Verdell, the dog, and later,
\ndrive Simon to see his parents and ask them for money.<\/p>\n
To make the journey bearable Melvin asks Carol to come along.
\nThe road trip leads to the exploration of each character's
\npersonality and needs, unveiling a story about tolerance, love
\nand friendship.<\/p>\n
The script may seem clumsy, and the dialog loose, giving a
\nrather disconnected feeling, yet the story grows on you.
\nNicholson is brutal in his portrayal of the obnoxious and
\nseemingly inhumane Melvin.<\/p>\n
But when Carol's son, who has chronic, life-threatening
\nasthma, takes a turn for the worst, it is Melvin who steps in and
\npays all medical expenses, although supposedly with an ulterior
\nmotive i.e.: that Carol return to work, ready to take his order.<\/p>\n
Nicholson handles this complex role with phenomenal results.
\nFor the first time. Nicholson does not fill the screen with his
\nusual overbearing persona. Instead, he weaves in and out of focus
\nwith a vulnerable uncertainty that allows him to share the space
\nwith others.<\/p>\n
Comments directed at Carol or about her, such as, \"You make me
\nwant to be a better man,\" or \"She's the kind of woman that if you
\nmake her laugh, you've got a life\" are delivered by Nicholson
\nwith an awkward, almost naive honesty.<\/p>\n
As a result, the two-time Oscar winner succeeds in showing the
\ntransformation of a man, without it ever getting overly
\nsentimental.<\/p>\n
Equally astounding performances are from Hunt and Kinnear.
\nBetter known as Jamie Buchman on NBC's hit series Mad About You,
\nand got big-screen popularity in Twister, Hunt offers balanced
\ndoses of tough and tender scenes, the perfect ingredients to cope
\nwith Melvin's cynicism.<\/p>\n
Kinnear's Simon is careful and never overdone, producing an
\nexceptional characterization that if played by a lesser actor
\ncould have easily been reduced to a stereotype.<\/p>\n
The three play off each other beautifully. During the trip
\nCarol supports the vulnerable and wounded Simon. Finally, both
\nSimon and Carol's positive energy rubs off on Melvin.<\/p>\n
These two people manage to touch Melvin's life, and the most
\nobvious indication of this is when Melvin, near the conclusion
\nsays, \"I forgot to lock the door.\"<\/p>\n
As Good As It Gets' principle merit is that it does not try to
\nbe extraordinary. The film written by Mark Andrus and James L.
\nBrooks really is as good as it gets. Through the film, one
\nrecognizes the double-edged meaning of the title expression, and
\nthe film skillfully illustrates both interpretations.<\/p>\n
The treatment of the title can be taken in a positive or
\nnegative way. Similarly, the plot can be viewed as being
\nextremely contrived or completely random. But, one thing is
\ncertain, As Good As It Gets is fluid, it flows, like life, with
\nall its chance meetings and interactions.<\/p>",
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