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A beautiful mind A Beautiful Minds inarguably greatest strength is a beautiful performance by Russell Crowe whose depiction of schizophrenic genius John Forbes Nash Jr is continuously compelling--even through the most vexing moments of heavy sentimentality and unabashed melodrama Based on the life of the Nobel Prize-winning mathematical theorist Crowes big-screen invocation of Nash mirrors his Oscar-awarded and -nominated depictions respectively of a fallen Roman general in Gladiator and a tormented scientist in The Insider as an accomplishment of total character immersion bringing the conflicted persona persuasively to life The plot follows Nash from his years as a brilliant but highly eccentric graduate student at Princeton where his fellow scholars Paul Bettany Adam Goldberg Josh Lucas and Anthony Rapp are simultaneously confounded by and sympathetic to their erratic classmate Chronicling Nashs professional progression in the 1950s as both a researcherreluctant professor at MIT where he meets his future wife Alicia Jennifer Connelly and a consultant for the Pentagon decoding intercepted Russian messages the film plods along rather sluggishly weighed down by director Ron Howards oversimplified and near-cartoonish interpretation of the worlds of academia and governmental intelligence gathering The initially conventional story however takes an intensely absorbing turn when Nash after years of deep and necessarily secretive involvement in Cold War message decoding is diagnosed with schizophrenia throwing his--and consequently the audiences--perception of reality and fantasy into utter chaos Crowes haunting embodiment of the painful manifestations of mental illness along with Connellys own credible portrayal of the heartache suffered by someone close to an afflicted individual are engaging characterizations that have made the two actors favorites for Academy Award nominations However while the movie explores the mechanics of an extraordinarily brilliant mind it doesnt seem to extend any presupposition of intelligence to its audience Seemingly untrusting of the viewers ability to be moved by the onscreen performances the musical score is unrelentingly intrusive in attempting to guide emotional reactions Similarly Nashs groundbreaking
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