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A Beautiful Mind
After watching the movie A Beautiful Mind with Russell Crowe as John Nash, my views on mental
illness have greatly changed. I thought that in general the movie was awesome and it was a great
movie to watch in class. I actually got to enjoy the movie instead of trying to examine every scene
like I usually have to do in other classes when we watch a movie. John Nash was an amazing man
and he had a huge positive impact on the American public.

I have learned a good deal about mental illness after watching this movie. When I think of someone
with a mental illness I usually think of some guy in a mental institution in a straight jacket. This
movie showed me that mentally ill people can lead very productive and happy lives. Although he had
his hard times, with medication and treatment he was able to overcome his illness and have a
decently normal life. I also learned that people with mental illnesses can¶t help that they are insane. It
is something they are born with. Mentally ill people are some of the world¶s most am

The characters in A Beautiful Mind demonstrate many positive traits. John Nash¶s wife demonstrates
dedication. Even though her husband is suffering from a serious mental illness, she still loves him
and stays with him. She doesn¶t let something that can be overcome destroy her life, she decides to
deal with it and battle the illness. John Nash demonstrates courage. He is going through something
very tough that he doesn¶t know how to deal with but he doesn¶t let that stop him from his goals. His
life long goal was to be one of math¶s most accomplished mathematicians. After battling his
condition for years everyone thinks he is hopeless but he doesn¶t give up. He develops a theory that
modern economics end up being based on. John Nash¶s friends and co-workers demonstrate
generosity. They understand what John is going through so they sympathize with him and give him
some slack. Instead of just ruling him out and thinking he¶s hopeless, they give him a spot as a
professor. John couldn¶t have gone anywhere if it wasn¶t for his friends a
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Ñedit] Production

roducer Brian Grazer first read an excerpt of Sylvia Nasar's book A Beautiful Mind in Vanity
Fair. Grazer immediately purchased the rights to the film. He eventually brought the project to
Ron Howard, who had scheduling conflicts and was forced to pass. Grazer later said that many
A-list directors were calling with their point of view on the project. He eventually focused on a
particular director, who coincidentally was only available at the same time Howard was
available. Grazer was forced to make a decision and chose Howard.[6]
 
 


‰irected by Martin Scorsese

Screenplay by Laeta Kalogridis, based on the novel by Dennis Lehane

Teddy ‰aniels ± Leonardo DiCaprio

Chuck Aule ± Mark Ruffalo
‰r. Cawley ± Ben Kingsley
‰r. Naehring ± Max von Sydow
‰olores ± Michelle Williams
Rachel 1 ± Emily Mortimer
Rachel 2 ± Patricia Clarkson
George Noyce ± Jackie Earle Haley
Warden ± Ted Levine

Chuck Aule (Mark Ruffalo) and Teddy Daniels (Leonardo DiCaprio) are two detectives
sent from the mainland to investigate a mysterious disappearance on an island prison for
the criminally insane.

A Spooky, Nuanced Thriller That Plays Like a Forties Noir

Martin Scorsese¶s newest picture @ utter Island is a creepy cinematic passage into paranoia,
guilt, and insanity²a classic thriller with undertones of gothic romance and the failed American
dream. The trailers, which anyone who¶s taken in a movie in the last year has seen, reveal little
but hint at a lot. Fortunately, the movie is a great watch even if the conclusion may leave some
audiences grumbling. Its tone, script, cinematography, and acting are laudable at worst and pitch-
perfect at best.

‰ennis Lehane, who also wrote Mystic River and Gone, Baby, Gone, penned the novel on which
@ utter Island is based. The book and film are set in 1954 in the Boston Harbor Islands, one of
which houses the Ashecliffe Hospital for the Criminally Insane. The movie opens on a ferry
carrying Federal Marshal Teddy ‰aniels (Leonardo ‰iCaprio, having a slig tly different reaction
to the open sea than he did in his ³king of the world´ days) and his partner Chuck (Mark
Ruffalo) to Ashecliffe to investigate the disappearance of a patient. As Teddy dives headfirst into
the inquiry, twists, switchbacks, and surprises take him on a disturbing spiral into the human
mind.

‰irector of photography Robert Richardson and extraordinary production designer ‰ante Ferretti
fashioned a creepy, physical manifestation of the inner workings of the psyche²and the result is
a film that makes you feel like you might be going a little nuts yourself as the layers unfold. The
island is a foreboding and utterly spectacular landscape of jutting cliffs, black shale, and eerily
stormy skies. The hospital itself is a set of beautiful red brick buildings that scream New
England. Vivid green landscaping and lovingly pruned trees cradle them, creating an ominously
safe haven in a forbidding setting. The film looks like a Lovecraftian nightmare with a touch of
the haunted, gothic feel of Hitchcock¶s ×ebecca. It feels classically Old Hollywood; each shot,
every scene, is choreographed perfectly, the subjects centered and lit beautifully. The
composition of each frame is skillfully rendered (the storyboards are probably a sight to behold),
and the editing is completely invisible. The script, adapted by Laeta Kalogridis, is stylish and
gripping. ‰espite its length (two hours eighteen minutes), most viewers will be rapt throughout
as the narrative unravels enigma upon mystery.

America was a strange place to live in the µ50s, and @ utter Island¶s Teddy is emblematic of the
paranoia, fear, and guilt that plagued the American public. Although it¶s a suspense thriller, the
film is also a sort of history lesson, a journey into the bizarre world of the Red Scare, H-bomb
anxiety, and the aftermath of World War II. From the way the guards treat Teddy, he says,
³You¶d think insanity was catchin¶.´ In a sense, in 1950s America it was. McCarthyism and the
atom bomb were at the forefront of news, and Americans never knew what was coming next.
The filmmakers rely on the tension of the period to provide a clever, nuanced narrative.

The movie boasts a cast full of A-listers: ‰iCaprio, Ben Kingsley, Michelle Williams, Emily
Mortimer, Jackie Earle Haley, atricia Clarkson, and Max von Sydow. Scorsese and ‰iCaprio,
friends who have worked together four times, have a kind of symbiosis that allows each to do his
best work. Michelle Williams, an Oscar nominee for Brokeback Mountain, is incredible in her
role as Teddy¶s wife ‰olores, who appears to him mostly in nightmares and hallucinations.
Williams imbues each of her scenes with a haunting vulnerability. The supremely underrated
atricia Clarkson (T e Green Mile, Vicky Cristina Barcelona) plays a soothsayer residing in a
cave, lending a mythological ambiance to the film. Von Sydow and Kingsley, both complete
pros, are perfect in their respective roles.

Robbie Robertson, a Scorsese confidante and veteran of The Band, was charged with compiling
already existing tracks into a suitable score. The result is heavy on thrumming violins, discordant
horns, minor chords, and shuddering bass. Scorsese knows his movie music, and frankly it works
here. The director¶s affinity for Bernard Herrmann (Psyc o, Vertigo) is clear, and Robertson
managed to use the same principles that make Herrmann¶s music incredible to meld a series of
classical pieces into an effectively spooky ensemble piece that elevates the movie without
distracting.

@ utter Island was originally scheduled for release in October, and when it got pushed back to
February, everyone wondered why a Scorsese movie would miss prime Oscar season. It¶s
certainly one of the year¶s most heavily advertised movies, and from the full twenty minutes of
trailers that play before the movie gets underway, one imagines studios jostling in the figurative
line to get their trailers in the peak spots. It¶ll undoubtedly be lucrative, and may see Oscar
nominations next year. The coup de grace, which may not be a surprise to canny moviegoers
(and may leave some disappointed), is fraught with enormously eerie imagery. At its heart, the
movie is made with the classics in mind. It¶s a brilliantly made and enjoyable film that owes a lot
to its predecessors, and if not for its sense of homage it might have been cloying. If you go in
expecting a great story told in the compelling fashion of films noir, you won¶t be disappointed.
è Responses to DzMovie Review: @

dz

‘    5
$

 67  6787  8598 

This movie had all the expectation, hype and crafty skill necessary, except they left out
the audience. From the beginning of the film the viewers aren¶t treated with any respect
as they are led down one path after another without a clue that it would end as it
would«with a yawn. So, unless you¶ve seen so few films that just about anything ³well
made´ impresses you, go to this one with plenty of snacks and a suspended sense of
importance, focusing not on yourself and the $30 you just spent, but towards the
egotistical needs of the film maker who is more interested in making a statement than
entertaining the average audience.

‘ O
  5
$

 67  6787  859: 

I have a feeling that the big ³problem´ everyone will have with this ± the ending, from
what you say and what the previous comment said ± is the big ³problem´ with the book. I
didn¶t hate the ending, but it¶s definitely not something that is amazingly spectacular in
any way. Audience expectation usually gets in the way of all kinds of stuff, though,
particularly with big-name µthrillers¶ of one sort or another (see NO COUNTRY FOR
OL‰ MEN).

‘ R
  5
$

 67  6787  +5+8 

The ending to No Country for Old Men left a lot of people mystified, as it didn¶t seem to
make any sense, or provide a conclusion to the film. I went back 2 more times and i
reckon that I worked it out. It actually made perfect sense if you listen to the detail of
TLJ¶s dream, as he recounts it to us, and why he couldn¶t catch the bandit. I thought that
the good point of that movie was to encourage people to have some balls and back their
judgement. Call it! The world moves fast now, and sometimes, waiting for help, or
always needing your pappy ¶round, means that you might miss an opportunity.

I think the end to Shutter Island has a haunting effect. How often do I live like a creep
and justify my actions in some small deluded way? Instead of walking out of the film
feeling like ³He got em!´, Scorsese turns things back on us as individuals. I applaud the
guy. He took the hard approach to the ending, rather than the usual µkick em in the guts¶
style that typifies 75% of H¶wood mainstream productions.