As Good As It Gets

Starring: Jack Nicholson, Helen Hunt, and Greg Kinnear

It sounds like a ludicrous plot from a television sitcom: A story about an obsessive-compulsive, bigoted writer of romance novels who has to cope with a gay neighbor and his dog, along with the family problems of a waitress (since she’s the only one wh om he trusts to serve him). Of course, he ends up going on a road trip with them and learns about life, love and relationships. As Good As It Gets, though reminiscent of a Seinfeld episode combined with a rejected movie scenario, is clearly deser ving of its title.

Jack Nicholson plays Melvin Udall, one of the most fascinating oddball characters ever to hit the cinema. He’s a bigot who (ironically) writes romance novels. Through a slew of hysterical incidents, it becomes common knowledge that Melvin is a textbo ok case of someone with an obsessive-compulsive disorder. With delicious glee, he expresses contempt for his gay neighbor Simon Bishop, played convincingly by Greg Kinnear. What’s worse is that after Simon is hospitalized, Melvin needs to take care of Si mon’s dog, which comes to be more of a burden than Simon ever was. Compounded with that is his struggle in what seems to be a backwards relationship with waitress Carol Connely (played by Helen Hunt). The film culminates in a road trip where all three s imply spend time with each other, which as any writing rulebook explains, is the prime environment for character development.

The acting in this film is superb. What by all means should be mentioned first is Jack Nicholson’s performance. Not many actors get a chance to work with a great script, which is one point of importance. Of even more relevance is the fact that not m any actors get to play a character that is so fine-tailored for them, a viewer can’t tell if the actor is playing a character or himself. With a bad script, that may be a sign of not being able to act well. However, this is a film where it crosses one’s mind: Is Jack playing as himself or as Melvin? This is the finest performance he has given in years after a few years of movies that flopped at the box office. His last good performance was in A Few Good Men, with his last exceptional performanc e being arguably much earlier than that. Nicholson carries the film from scene to scene. One of the most enjoyable aspects of watching the film is just waiting for him to say something, as every word that leaves his mouth is perfect. That can be credit ed to a phenomenal script. The most memorable scene takes place when he opens the door to his neighbor Simon and lectures him about knocking. There anyone can see it’s vintage Nicholson, represented by sarcasm, put downs, followed by an additional dose of caustic remarks. Another notable line stings the air as he enters his psychologist’s office without an appointment: "How can you diagnose me as obsessive compulsive and then tell me I have a choice about barging in here?"

Helen Hunt’s acting was quite innocent and respectable, and a work of quality. Greg Kinnear, shines in his moments as a poetic and insightful character. Cuba Gooding Jr. however, has proven, once again, that he lacks any acting capability. Even wit h good films such Outbreak, Jerry Maguire, as well as this one, he acts in his usual pompous and pretentious manner. He seems to come from the "Schummacher School of Acting" where he was likely taught that caffeine was his friend. The most strategically effective option for Cuba is to cease being typecasted.

The script itself is so surprisingly elementary that it may shock screenwriters that it was even written. No cosmic issues are addressed. It takes pride in its simplicity. There are usually two types of good writing: an original story, which by itse lf deserves credit for creativity, and a cliché-ridden story that is written well. James Brooks along with Mark Andrus have written such a great piece of work, that people would be eager in seeing the "further adventures" of the t itle characters. The scenes flow seamlessly as they are filled to the brim with jokes and none fall flat.

The film’s basic message is rather affecting and conventional. Carpe diem, though at the same time realize that it’s never too late to change. The human message sparkles through in Nicholson’s brilliant performance as he progressively mol ds his life to what he wants it to be, and exposes his true feelings.

After viewing a few Brooks films, it appears that Brooks has finally honed his craft of telling great stories about ordinary people, or more specifically, imperfect ones. The human condition is what he knows best. However his other notable achievements, as great as they may be, don’t reach the level of this film. Terms of Endearment may have offered great drama along with great characterization, and Broadcast News may have been a great feature with more great writing, but Brooks’ As Good It Gets offers the purest characterizations he’s made yet, along with a touching romance and a sharp comedy. Time virtually stops as the viewer gets to observe a moment in the lives of people that have something to say about themselves.