A Beautiful Mind


2h 16m 2001
A Beautiful Mind

Brief Synopsis

A mathematics genius fights schizophrenia.

Film Details

MPAA Rating
Genre
Romance
Drama
Biography
Medical
Adaptation
Release Date
Jan 4, 2001
Premiere Information
New York and Los Angeles opening: 21 Dec 2001
Production Company
DreamWorks Pictures; Imagine Entertainment; Universal Pictures
Distribution Company
Universal Studios
Country
United States
Location
Bayonne, New Jersey, USA; Princeton, New Jersey, USA; New York City, New York, USA; Bayonne--Military Ocean Terminal , New Jersey, United States; New York, New York, United States; Princeton, New Jersey, United States
Screenplay Information
Based on the book A Beautiful Mind: A Biography of John Forbes Nash, Jr., Winner of the Nobel Prize in Economics, 1994 by Sylvia Nasar (New York, 1998).

Technical Specs

Duration
2h 16m

Synopsis

In 1947, mathematics graduate students at Princeton University are reminded that mathematics built the atomic bomb and won the war, and now needs brave, publishable advances. Entering student John Forbes Nash, Jr. takes the admonition to heart and immediately alienates his competitive classmates, Martin Hansen, Ainsely, Bender and Richard Sol, by declaring that they have yet to produce any innovative ideas. Throughout the term, John sequesters himself with his studies, often scribbling formulae on his dorm window. One day, John's personable British roommate, Charles Herman, convinces him to take a break, and John admits that work is all he has in life. Weeks later, after John spends forty-eight hours straight in the library tracing the algorithms of pigeons and footballers on the windows, Charles encourages him to visit the local bar. There the other students challenge John to approach a blonde co-ed, but she responds to his disconcertingly direct proposition by slapping him. Soon after, Professor Helinger warns John that his lack of progress and refusal to attend classes are jeopardizing his future placement, and points out a professor in the faculty room receiving pens from fellow teachers, an honor bestowed for "the achievement of a lifetime." John's dismay is tempered only after Charles throws his desk out the window, and they both break down in laughter. Later at the bar, while analyzing the most expedient way to win over a blonde, John formulates an idea that leads to a breakthrough paper on game theory, and Helinger awards him a position at the Wheeler Laboratories at "MIT," the Massachusetts Institute of Technology. There, Bender and Sol work as his assistants while John gains fame as one of the most promising scientists of his time. In 1953, Pentagon officials call on John to break a Russian code, and his brilliance attracts the attention of government agent William Parcher. Later, John reluctantly teaches a class at MIT, where student Alicia Larde impresses him with her resolve and intelligence. Parcher then visits John's office and reveals a vast secret workforce defending America against Russian-held bombs. After implanting an identifying radium diode in John's arm, Parcher engages him to scan American publications for embedded codes. Soon after, Alicia asks the shy professor on a date, and he brings her to a governor's ball, where he charms her by showing her how to trace shapes against the stars. Over the next few weeks, he leaves envelopes of deciphered codes in a secret drop box for Parcher and dates Alicia, who responds favorably to his direct approach. John grows nervous about his secret work, seeing men in the shadows, but is cheered when one day Charles visits with his new charge, his orphaned niece Marcee. That night at dinner, John asks Alicia for empirical evidence of love, which she says takes the same kind of faith as does believing that the universe is infinite. They marry, and at the wedding, John spots Parcher watching from a parked car. One day in 1954, John drops off a package, and this time Parcher speeds up, commanding him to get into the car. They are chased by Russians, whom Parcher eventually kills, leaving John shaking in terror. He later tells Parcher that the work is too dangerous, especially as Alicia is now pregnant, but Parcher threatens that if he quits he will be killed, and John grows increasingly paranoid. At a conference, John is pleased to see Charles attending, but during his speech, he sees men in black suits and flees in panic, then is trapped outside and drugged. He awakens in a psychiatric hospital run by Dr. Rosen, but John believes the psychiatrist is a Russian interrogator and that Charles has turned him in. Rosen reveals to Alicia that John suffers from schizophrenia, a hallucinatory mental disorder, and that neither Charles, Marcee nor Parcher and his whole department exist. Uncertain, Alicia insists on gaining entry to John's office, and is shocked to find it in chaos, with scribbled-on magazine pages tacked to every surface. Following a tip from Sol, she finds the drop site and discovers dozens of John's envelopes sitting untouched in a mailbox. When she tries to inform John of his delusions, however, he turns away, afraid that she is part of the conspiracy against him. After John tears his arm apart looking for the implant, Rosen prescribes an intensive regimen of insulin shock therapy. A year later, the Nashes move to Princeton, where John's medication reduces his ability to reason, care for their son or have sex. Alicia grows depressed and frustrated, and in response, John stops taking his pills. Soon Parcher reappears, urging John to continue his work in the barn, and when one day Alicia discovers the barn walls covered with paper, she realizes that John is sick again and barely saves the baby from drowning in the bath John is drawing for him. When she calls Rosen, Parcher, Charles and Marcee command John to stop her, and after he pushes her down, Alicia runs away in fear. A stricken John races out to Alicia's car, but when she stops, he tells her that he has realized that Marcee never ages, and thus cannot be real. Although Rosen later advises them that schizophrenia is degenerative, John and Alicia agree to work together to find a solution not reliant upon medication. Hoping that a familiar community will help him chase away his delusions, he returns to Princeton, where Martin now heads the math department, and awkwardly asks his former rival to allow him access to the campus resources. Martin agrees, even after some minor stress causes John to have a breakdown outside the library, during which Parcher reviles him for his cowardice. Over the years, John continues to work and manages to ignore Parcher, Charles and Marcee, who nonetheless always remain nearby. Although most of the students ridicule John, one day in 1978, student Terry Kellum approaches him with a theory, and soon after, Alicia is proud to see John surrounded by students in the library. Martin agrees to allow him to lecture, and by 1994 he is a popular teacher. In March, Thomas King visits to inform John that he is being considered for the Nobel Prize in economics. King, who is there to ensure that John is competent enough to receive the award, insists on eating in the faculty room, and John reluctantly agrees. There John is shocked and pleased as, one-by-one, the other professors place pens at his table in honor of his achievements. In Stockholm, Sweden, John accepts the 1994 Nobel Prize in economics, and in his speech states he has discovered that "only the mysterious equations of love hold logic." After crediting Alicia with his accomplishments, John escorts her home, with his demons accompanying them.

Crew

Paul Abatemarco

Visual Effects Coordinator

Nancy Adams

3D integration artist

Greg Addison

2d unit gaffer

Shawn Alexander

Production Assistant

Glenn Allen

Assistant Editor

Tom Allen

Props Master

Suzy Mazzarese Allison

Hairstylist

Bill Anagnos

Stunts

Joel Roi Aronowitz

2d unit boom op

Tamara Bally

Prod accountant

Guy Barresi

Assistant Editor

David Barton

Sculptor

David Bausch

Prod Coordinator

Dave Bayer

Math consultant

Marianne Bell

Production Assistant

Jim Belletier

2d unit 1st Assistant Camera

Krista Benson

Digital compositor

Kristen Bernstein

2d Assistant Director

Martin Bernstein

Const Coordinator

Nancy Bernstein

Visual Effects Executive prod

Lourene Bevaart

Mr. Crowe's trainer

Stan Bochner

Dial Editor

Harry Peck Bolles

Sound Effects Editor

Jim Boniece

Key rigging grip

Bob Bornstein

Music prep

Jay Boryea

Stunts

Kevin Brainerd

Assistant Costume Designer

Melissa Brides

Production Assistant

Patricia Brolsma

Boom Operator

John Brown

Sculptor

Dale Brownell

Hairstylist

Robert Buckman

Transportation co-capt

Peter Bucossi

Stunt Coordinator/stunts

Laurie Buehler

Seamstress

Cat Burkley

2d unit prod Assistant

Eva Burkley

Assistant to Mr. Hallowell

Shannan Burkley

Digital paint artist

Joe Burns

2d unit 1st Assistant Director

Gary Burritt

Negative cutter

Matthew Butler

Digital Effects Supervisor

Allan Byer

Prod Sound mixer

Will Caban

Special Effects Coordinator

Eva Z. Cabrera

Script Supervisor

Nancy Cabrera

Foley artist

Eliot Cail-sirota

3D digital modeler

Colleen Callaghan

Key hair stylist

Kymbra Callaghan

Ms. Connelly's makeup

Bill Campbell

Costume Supervisor

Paul Candrilli

Grip

Greg Cannom

Special makeup created by

Patty Carey

Assistant loc Manager

Claudia Carle

ADR rec

Antoinette Carr

2d unit key hair stylist

Steve Castellano

Post prod Supervisor

David Catalano

Production Assistant

Lou Cerborino

Dial Editor

Gimo Chanphianamvong

Digital compositor

Noreen R. Cheleden

2d 2d Assistant Director

Charlotte Church

Score vocals performed by

Chic Ciccolini Iii

Supervisor Sound Editor

Ed Cohen

Electric

Missy Cohen

Foley Editor

David Colbert M.d.

Dermatologist

Chris Collins

Production Assistant

Anna Culp

Assistant to Mr. Grazer

Howard Davidson

Rigging grip

Sandy De Crescent

Music contractor

Roger Deakins

Director of Photography

Thomas Dickens

3D digital modeler

Judi Dickerson

Dial coach

Kenna Doeringer

ADR Assistant Editor

Jason Doss

3D integration artist

Richard Bryan Douglas

Key carpenter foreman

Dean Drabin

ADR mixer

Kevin Draves

2d unit Costume Supervisor

Warren Drummond

Storyboard artist

Greg Duda

Tech developer

Mark Dumbrell

Assistant to Mr. Crowe

Patrick Dundas

Foley Editor

Dave Dunlap

2d unit Director of Photographer

Aaron Dunsay

Production Assistant

Kate Eales

Apprentice Editor

Scott Edelstein

3D integration artist

Ann Edgeworth

Assistant Props master

Greg Edwards

Video Assistant

Dennis Eger

2d unit key makeup

Kris Enos

2d unit 2d Assistant Camera

Andrew Farley

2d unit grip

Kathy Fellegara

Set medic

Rich Fellegara

Set medic

Jane Ferguson

DGA trainee

Frank Ferrara

Stunts

Rich Ford

Rigging gaffer

Richard Friedlander

1st Assistant Editor

Sam Friedman

2d unit electric

Ken Fundus

2d unit dolly grip

Tim Gallin

Stunts

Jim Galvin

Rigging electric

Ganious

Production Assistant

Meredith Garlick

Assistant to Mr. Crowe

Ginger Geary

Foley artist

Gilbert Gertsen

Special Effects Assistant

Swen Gillberg

3D integration lead

Dr. Marianne Gillow

Psychology consultant

Steve Ginsburg

2d Assistant accountant

Jeff Glave

Charge scenic

Akiva Goldsman

Writer

Gabriel Goodenough

Camera loader

Steven Gordon

2d unit prod Assistant

Tom Gravel

Production Assistant

Brian Grazer

Producer

Joe Grimaldi

Best boy electric

Robert Guerra

Art Director

John Halligan

2d unit grip

Todd Hallowell

2nd Unit Director

Todd Hallowell

Executive Producer

Bruce Hamme

Dolly grip

Dan Hanley

Editing

Glen Hanz

Sculptor

Claudia Hardy

Effects tech

Andy Harris

1st Assistant Camera

Jessica Harris

Digital compositor

Claas Henke

Compositing Supervisor

Jim Henrikson

Music Editor

Tony Hernandez

Accounting clerk

Don Hewitt

Stunts

Hildegard Of Bingen

Composer

Mike Hill

Editing

George Hines

Rigging electric

Janet Hirshenson

Casting

Leo Holder

Graphic artist

James Horner

Music Composition

James Horner

Orchestration

James Horner

Composer

Ron Howard

Producer

Keith Huggins

3D Effects anim

Mike Hyde

Transportation capt

Chris Jenkins

Re-rec mixer

Jane Jenkins

Casting

Will Jennings

Composer

Jeanne Jirik

Craft service

Lori Johnson

Assistant unit prod Manager

Jason Kadlec

2d unit prod Assistant

Niko Kalaitzidis

3D Effects anim

Jeffrey Kalmus

Digital imaging Supervisor

Keith Kastner

2d unit grip

Jeff Keaton

2d unit electric

Karen Kehela

Executive Producer

Randy Kerber

Orchestration

John Kim

Effects tech

Mary Kim

[Special Effects] prod Supervisor

Tyler Kim

2d unit Assistant props

Yoon Kim

2d unit prod Assistant

Kimie Kimura-heane

Production Assistant

Steve Kirshoff

Special Effects

Todd Klein

Rigging grip

Todd Kleitsch

Key makeup

Betsy Klompus

Assistant Props master

Jeremy Knaster

Electric

Erik Knight

Art Department admin

Jane Kelly Kosek

Assistant prod Coordinator

Fred Kramer

Special Effects Assistant

Mike Kriaris

Assistant loc Manager

Julie Kuehndorf

Unit Publicist

Kelly L'estrange

Visual Effects prod

Sal Lanza

2d unit key grip

Marc Laub

Dial Editor

Linda Lazar

Makeup Artist

Dan Lemmon

Tech development

Brian Lennon

Production Assistant

Mitch Lillian

Key grip

Chris Logan

3D integration artist

Harvey K. Lowry

[Special Effects] op Manager

Nicole Macagna

Post prod Assistant

Michelle Macirella

Prod Secretary

Kevin Mack

Visual Effects Supervisor

Steve Mack

Stunts

Charlie Marroquin

Best boy grip

Rick Marroquin

Dolly grip

Neal Martz

Makeup Department head

Brick Mason

Storyboard artist

Michael Maurer

Electric

Rachel May

Production Assistant

Bradley Mayer

Assistant art Director

Darren Maynard

2d unit prod Assistant

Barbara Mcdermott

Assistant Music Editor

Mike Mcfadden

Best boy rigging grip

Kathleen Mcgill

Associate Producer

Kathleen Mcgill

Unit Production Manager

James Mcgrane

2d unit transportation capt

M. J. Mcgrath

Wardrobe Assistant

Brennan Mckay

Stunts

Kevin Mckenna

Video Assistant

Winsome G. Mckoy

Costume Supervisor

Jack Mclaughlin

Stunts

Brandon Mcnaughton

Digital compositor

Kristin Mctigue

Casting Assistant

Mike Millikan

Col timer

Eytan Mirsky

Sound Effects Editor

Bekki Misiorowski

Visual Effects accountant

Photo Collections

A Beautiful Mind - Movie Poster
A Beautiful Mind - Movie Poster

Videos

Movie Clip

Trailer

Hosted Intro

Promo

Film Details

MPAA Rating
Genre
Romance
Drama
Biography
Medical
Adaptation
Release Date
Jan 4, 2001
Premiere Information
New York and Los Angeles opening: 21 Dec 2001
Production Company
DreamWorks Pictures; Imagine Entertainment; Universal Pictures
Distribution Company
Universal Studios
Country
United States
Location
Bayonne, New Jersey, USA; Princeton, New Jersey, USA; New York City, New York, USA; Bayonne--Military Ocean Terminal , New Jersey, United States; New York, New York, United States; Princeton, New Jersey, United States
Screenplay Information
Based on the book A Beautiful Mind: A Biography of John Forbes Nash, Jr., Winner of the Nobel Prize in Economics, 1994 by Sylvia Nasar (New York, 1998).

Technical Specs

Duration
2h 16m

Award Wins

Best Adapted Screenplay

2001

Best Adapted Screenplay

2002
Akiva Goldsman

Best Director

2001
Ron Howard

Best Director

2002
Ron Howard

Best Picture

2001

Best Picture

2002
Brian Grazer

Best Picture

2002
Ron Howard

Best Supporting Actress

2001
Jennifer Connelly

Best Supporting Actress

2002
Jennifer Connelly

Award Nominations

Best Actor

2001
Russell Crowe

Best Editing

2001

Best Makeup

2001

Best Original Score

2001
James Horner

Best Score

2001

Articles

A Beautiful Mind


Ron Howard is the kind of success story Hollywood loves: an adorable child actor who made a seamless transition to young adult star but who really wanted to direct, and did, working his way up from ambitious super-8 films shot on actual Hollywood sets through the Roger Corman school of practical filmmaking (where he made Grand Theft Auto [1977]) to popular comedies (Splash [1984], Parenthood [1989]) and colorful fantasies (Cocoon [1985], Willow [1988]) without ever losing his reputation as one of the nicest guys in Hollywood. For all his commercial success, however, he never really got much respect as a serious filmmaker, even after his more-than-respectable Apollo 13 [1995]. It didn't happen until A Beautiful Mind (2001).

The project, based on (or, more accurately, inspired by) Sylvia Nasar's biography of Nobel Prize-winning mathematician John Forbes Nash, Jr., was not necessarily the most obvious choice for an uplifting tale of perseverance and triumph over adversity. Nash, a pioneer in the development of game theory whose work in the area of pure math is hardly the most cinematic of subjects, was a brilliant eccentric diagnosed with paranoid schizophrenia and mild clinical depression in 1959. The film spans almost 50 years in the life of Nash, from his days as a socially withdrawn and awkward student at Princeton to his tenure teaching at M.I.T. (where he met his future wife, Alicia) to the erratic behavior that led to the diagnosis of schizophrenia and his struggle with the incurable condition that he learned to confront. What's not in A Beautiful Mind is much of Nash's more extreme and at times hostile behavior under the influence of his condition: the child he fathered and then abandoned before his marriage, his affairs (with both men and women) and his divorce from his wife.

Howard's producing partner, Brian Grazer, had been looking for a project that explored the issues of mental illness and was intrigued by Nasar's book and brought in Akiva Goldsman. The son of child psychologists, Goldman had worked in the field of mental health before becoming a screenwriter and was more interested in trying to convey the experience than in creating a literal biography. He ostensibly avoided the more off-putting details of Nash's troubled life to make him a more sympathetic figure, and he put his dramatic energies into crafting a screenplay that experienced Nash's world through his own eyes, or rather his mind. Only after we come to accept the world from his point of view does the film reveal how much of his experience was delusion. That approach satisfied John and Alicia Nash, who were reluctant to put their lives on screen, and captured Howard's interest. He signed on to direct as well as produce.

Howard approached Russell Crowe, based on his work on L.A. Confidential [1997] and The Insider [1999], to play Nash, and Crowe took up the challenge of the role, playing Nash as a shuffling, stooped, socially disconnected genius. By all accounts, the often difficult Australian star got on famously with Howard (they collaborated again a few years later on Cinderella Man [2005]). The real-life Nash married Alicia López-Harrison de Lardé, an El Salvadorian physics student who took one of his classes. For the film, she's transformed into an all-American woman played by Jennifer Connelly. Long one of the most underrated and underutilized actresses of her generation, Connelly earned an Oscar® for her performance as the devoted wife who struggles to understand her increasingly irrational husband. British actor Paul Bettany, largely unknown in the U.S. at the time of his casting, has the liveliest role in the film as Nash's impulsive college roommate and he runs with it, playing the fun-loving extrovert to Nash's intellectual introvert.

"We had to find a way to make that story more accessible and entertaining," explained producer Grazer to the New York Times in 2001. "So we genrefied it, and turned John Nash's life into a more compelling thriller." Ed Harris helps establish that dimension of the story as a circumspect government agent who brings Nash in as a code-breaker on a CIA project that takes it toll on Nash through exhaustion, stress and paranoia. As it develops into schizophrenia, A Beautiful Mind presents his experience in a way that, if somewhat simplistic, is neither cartoonish nor dismissive. Even after he's diagnosed, the numbing effects of the drug regimen dulls his mind and his spirit in a way that Nash finds even more crippling than his hallucinations and paranoia. While there's a triumph of the spirit quality to his story, it's Nash's mind that finally confronts his demons.

The controversies surrounding the film's willful neglect of Nash's less sanguine history haunted the release of A Beautiful Mind and was brought up in many of the reviews, even the favorable ones. But it was also championed for its sympathetic insight to mental illness by the likes of political columnist George Will, and the National Mental Health Awareness Campaign awarded producer Grazer and director Howard their first annual Awareness Awards. By Oscar® night, those issues seemed largely beside the point. Nominated for eight Academy Awards, A Beautiful Mind took home four major Oscar®s: for Best Actress Jennifer Connelly, for Akiva Goldsman's screenplay adaptation, and two for Ron Howard: Best Director and Best Picture. In his first nomination, he took home the gold and got the industry respect he so longed for.

Producers: Brian Grazer, Ron Howard
Director: Ron Howard
Screenplay: Akiva Goldsman; Sylvia Nasar (book)
Cinematography: Roger Deakins
Art Direction: Robert Guerra
Music: James Horner
Film Editing: Dan Hanley, Mike Hill
Cast: Russell Crowe (John Nash), Ed Harris (Parcher), Jennifer Connelly (Alicia Nash), Christopher Plummer (Dr. Rosen), Paul Bettany (Charles), Adam Goldberg (Sol), Josh Lucas (Hansen), Anthony Rapp (Bender), Jason Gray-Stanford (Ainsley), Judd Hirsch (Helinger), Austin Pendleton (Thomas King), Vivien Cardone (Marcee).
C-135m. Letterboxed.

by Sean Axmaker
A Beautiful Mind

A Beautiful Mind

Ron Howard is the kind of success story Hollywood loves: an adorable child actor who made a seamless transition to young adult star but who really wanted to direct, and did, working his way up from ambitious super-8 films shot on actual Hollywood sets through the Roger Corman school of practical filmmaking (where he made Grand Theft Auto [1977]) to popular comedies (Splash [1984], Parenthood [1989]) and colorful fantasies (Cocoon [1985], Willow [1988]) without ever losing his reputation as one of the nicest guys in Hollywood. For all his commercial success, however, he never really got much respect as a serious filmmaker, even after his more-than-respectable Apollo 13 [1995]. It didn't happen until A Beautiful Mind (2001). The project, based on (or, more accurately, inspired by) Sylvia Nasar's biography of Nobel Prize-winning mathematician John Forbes Nash, Jr., was not necessarily the most obvious choice for an uplifting tale of perseverance and triumph over adversity. Nash, a pioneer in the development of game theory whose work in the area of pure math is hardly the most cinematic of subjects, was a brilliant eccentric diagnosed with paranoid schizophrenia and mild clinical depression in 1959. The film spans almost 50 years in the life of Nash, from his days as a socially withdrawn and awkward student at Princeton to his tenure teaching at M.I.T. (where he met his future wife, Alicia) to the erratic behavior that led to the diagnosis of schizophrenia and his struggle with the incurable condition that he learned to confront. What's not in A Beautiful Mind is much of Nash's more extreme and at times hostile behavior under the influence of his condition: the child he fathered and then abandoned before his marriage, his affairs (with both men and women) and his divorce from his wife. Howard's producing partner, Brian Grazer, had been looking for a project that explored the issues of mental illness and was intrigued by Nasar's book and brought in Akiva Goldsman. The son of child psychologists, Goldman had worked in the field of mental health before becoming a screenwriter and was more interested in trying to convey the experience than in creating a literal biography. He ostensibly avoided the more off-putting details of Nash's troubled life to make him a more sympathetic figure, and he put his dramatic energies into crafting a screenplay that experienced Nash's world through his own eyes, or rather his mind. Only after we come to accept the world from his point of view does the film reveal how much of his experience was delusion. That approach satisfied John and Alicia Nash, who were reluctant to put their lives on screen, and captured Howard's interest. He signed on to direct as well as produce. Howard approached Russell Crowe, based on his work on L.A. Confidential [1997] and The Insider [1999], to play Nash, and Crowe took up the challenge of the role, playing Nash as a shuffling, stooped, socially disconnected genius. By all accounts, the often difficult Australian star got on famously with Howard (they collaborated again a few years later on Cinderella Man [2005]). The real-life Nash married Alicia López-Harrison de Lardé, an El Salvadorian physics student who took one of his classes. For the film, she's transformed into an all-American woman played by Jennifer Connelly. Long one of the most underrated and underutilized actresses of her generation, Connelly earned an Oscar® for her performance as the devoted wife who struggles to understand her increasingly irrational husband. British actor Paul Bettany, largely unknown in the U.S. at the time of his casting, has the liveliest role in the film as Nash's impulsive college roommate and he runs with it, playing the fun-loving extrovert to Nash's intellectual introvert. "We had to find a way to make that story more accessible and entertaining," explained producer Grazer to the New York Times in 2001. "So we genrefied it, and turned John Nash's life into a more compelling thriller." Ed Harris helps establish that dimension of the story as a circumspect government agent who brings Nash in as a code-breaker on a CIA project that takes it toll on Nash through exhaustion, stress and paranoia. As it develops into schizophrenia, A Beautiful Mind presents his experience in a way that, if somewhat simplistic, is neither cartoonish nor dismissive. Even after he's diagnosed, the numbing effects of the drug regimen dulls his mind and his spirit in a way that Nash finds even more crippling than his hallucinations and paranoia. While there's a triumph of the spirit quality to his story, it's Nash's mind that finally confronts his demons. The controversies surrounding the film's willful neglect of Nash's less sanguine history haunted the release of A Beautiful Mind and was brought up in many of the reviews, even the favorable ones. But it was also championed for its sympathetic insight to mental illness by the likes of political columnist George Will, and the National Mental Health Awareness Campaign awarded producer Grazer and director Howard their first annual Awareness Awards. By Oscar® night, those issues seemed largely beside the point. Nominated for eight Academy Awards, A Beautiful Mind took home four major Oscar®s: for Best Actress Jennifer Connelly, for Akiva Goldsman's screenplay adaptation, and two for Ron Howard: Best Director and Best Picture. In his first nomination, he took home the gold and got the industry respect he so longed for. Producers: Brian Grazer, Ron Howard Director: Ron Howard Screenplay: Akiva Goldsman; Sylvia Nasar (book) Cinematography: Roger Deakins Art Direction: Robert Guerra Music: James Horner Film Editing: Dan Hanley, Mike Hill Cast: Russell Crowe (John Nash), Ed Harris (Parcher), Jennifer Connelly (Alicia Nash), Christopher Plummer (Dr. Rosen), Paul Bettany (Charles), Adam Goldberg (Sol), Josh Lucas (Hansen), Anthony Rapp (Bender), Jason Gray-Stanford (Ainsley), Judd Hirsch (Helinger), Austin Pendleton (Thomas King), Vivien Cardone (Marcee). C-135m. Letterboxed. by Sean Axmaker

Quotes

Trivia

Notes

The film's opening and closing cast credits differ slightly in order. The picture ends with the following statement: "Nash's theories have influenced global trade negotiations, national labor relations, and even breakthroughs in evolutionary biology. John and Alicia Nash live in Princeton, New Jersey. John keeps regular office hours in the Mathematics Department. He still walks to campus every day." In the closing credits, the producers express thanks to many individuals and institutions, including Princeton University, Apple Computers and Graydon Carter. The closing credits include the following rights statements: "The work 'Oval with Points' has been reproduced by permission of the Henry Moore Foundation" and "'Autoportrait with 7 Fingers' by Marc Chagall copyright 2001, Artists Rights Society (ARS), New York/ADAGP, Paris." According to a July 2001 New York Times item, sportscaster Warner Wolf appears in the film during the scene in which Nash wins the Nobel Prize.
       In 1998, Sylvia Nasar published her book about schizophrenic mathematics genius John Forbes Nash, Jr., A Beautiful Mind. According to a August 31, 1998 Daily Variety article, many studios expressed interest in the story, which bears similarities to the hit 1998 film Australian film Shine, but the book's agent, Robert Bookman of CAA, refused to sell the story without the approval of Nash. Although Universal Pictures first wanted the property for Martin Brest to direct, by the time Nash agreed to the story's sale, Imagine Entertainment had teamed with Universal to buy the rights for $1 million. In September 2000, Hollywood Reporter stated that DreamWorks had entered into "a 50-50 co-financing and co-production agreement" with Imagine and Universal and would handle the film's international distribution, with Universal managing domestic distribution. Although Hollywood Reporter reported in February 2000 that Robert Redford wanted to direct and Tom Cruise was considering starring in the film, by April 2000, a Daily Variety item announced that Imagine Entertainment partner Ron Howard would direct.
       As depicted in the film, Nash, who was born in 1928, entered Princeton University's graduate school of mathematics in 1947, and two years later wrote a paper originating the mathematical principles of game theory, which eventually led to his winning the 1994 Nobel Prize in Economics. From 1951 through 1959, he taught at the Massachusetts Institute of Technology (MIT), where he developed a number of important theorems and met graduate student Alicia Larde, who became his wife in 1957. In 1959, his lifelong struggle with schizophrenia began, haunting him with paranoid hallucinations and precipitating repeated hospitalizations. As Nash wrote in Les Prix Nobel in 1994, "In the later 60's I became a person of delusionally influenced thinking but of relatively moderate behavior and thus tended to avoid hospitalization." According to an March 11, 2002 Newsweek article, "Like fewer than one in 10 individuals who suffer from chronic schizophrenia," the hormonal changes of aging helped alleviate Nash's illness. In many sources, the filmmakers asserted that A Beautiful Mind is not a biography but, according to an interview given by Howard to countingdown.com, "a synthesis of many aspects of Nash's life." Other sources noted that the film does not cover some of the less flattering details about Nash's life, including an arrest early in his career, rumored homosexuality and anti-Semitism, and his 1963 divorce from Alicia, whom he remarried on June 1, 2001. The criticism, much of which was leveled at the film during the Academy Awards voting period, prompted supporters at that time to decry what they consdiered unethical competitive tactics. Nasar published a March 13, 2002 Los Angeles Times article to "correct the record," in which she stated that Nash "is not gay," lived with Alicia throughout most of the years during which they were divorced, and made anti-Semitic comments only while experiencing extreme paranoid delusions.
       Although a June 2001Entertainment Weekly item noted that Crowe limited his real-life interaction with Nash, in the countingdown.com interview, Howard stated that he videotaped Nash teaching his theorems and used some of his formulae in the film. According to the countingdown.com interview with screenwriter Akiva Goldsman, Crowe contributed to the development of the character of "John Forbes Nash, Jr." and to the story in general, and John and Alicia Nash approved of the script, stating that it was "really true to the spirit of our lives." On the same website, director of photography Roger Deakins described using a different film stock in the beginning of the film than in the end, in order to lend the scenes at Princeton a "more golden feel" that became grittier as Nash's mental illness developed. In addition, editor Mike Hill noted that Howard shot the film in continuity, an unusual choice made "because of the makeup and the aging process." A December 2001 Entertainment Weekly news item reported that a brief love scene between Crowe and Jennifer Connelly ("Alicia Nash") was deleted from the final film.
       According to several news items and the Hollywood Reporter production charts, the film was shot at several locations in New York and New Jersey, including Princeton University and the Military Ocean Terminal in Bayonne. An October 2001 Hollywood Reporter item announced that although Universal had planned to release the film nationally on December 25, 2001, the studio now planned for a limited Christmas debut and a wide release on January 4, 2002. The New York and Los Angeles release was subsequently moved up to 21 December 2001.
       Reviews of A Beautiful Mind consistently praised Crowe's performance. Connelly was selected by AFI as Featured Female Actor of the Year. In addition, the film received the following AFI nominations: film of the year, Male Actor of the Year in a motion picture for Crowe and Screenwriter of the Year for Goldman. Although Deakins was selected as AFI's Cinematographer of the Year, it was for his work on the film The Man Who Wasn't There (see below). Screenwriter Akiva Goldman and writer Sylvia Nash were awarded USC's Scripter Award for Best Adapted Screenplay. A Beautiful Mind won Golden Globe Awards for Best Motion Picture Drama, Best Screenplay, Best Supporting Actress (Connelly), Best Actor (Crowe), and received the following Golden Globe nominations: Best Director and Best Original Score. The film won an Academy Award for Best Film, Best Screenplay based on material previously produced or published, Best Director, and Best Supporting Actress (Connelly) and was nominated for the following Academy Awards: Best Actor (Crowe), Best Film Editing, Best Makeup and Best Original Score.

Miscellaneous Notes

Nominated for the 2001 Golden Laurel Award for Best Motion Picture from the Producers Guild of America (PGA).

Voted one of the 10 best films of 2001 by the American Film Institute (AFI).

Winner of four 2001 awards, including Best Picture, Best Director, Best Actor (Russell Crowe) and Best Supporting Actress (Jennifer Connelly), from the Broadcast Film Critics Association.

Winner of the 2001 award for Best Screenplay Based on Material Previously Produced or Published from the Writers Guild of America (WGA).

Winner of the 2001 award for Best Supporting Actress (Jennifer Connelly) from the Online Film Critics Society (OFCS).

Winner of the 2001 award for Outstanding Directorial Achievement in a Feature Film from the Directors Guild of America (DGA).

Winner of the 2001 Golden Reel Award for Best Sound Editing - Dialogue & ADR, Domestic Feature Film by the Motion Picture Sound Editors (MPSE).

Winner of the 2001 Screen Actors Guild (SAG) Award for Best Actor (Russell Crowe). Also nominated for a further two awards, including Best Actress (Jennifer Connelly) and Best Ensemble Cast.

Winner of the award for Featured Actor of the Year - Female (Jennifer Connelly) at the 2001 American Film Institute (AFI) Awards. Nominated for a further three awards, including Movie of the Year, Actor of the Year - Male (Russell Crowe) and Screenwriter of the Year.

Winner of two 2001 Golden Satellite Awards, including Best Supporting Actress - Drama (Jennifer Connelly) and Best Original Song ("All Love Can Be" - James Horner and Wilbur Jennings), from the International Press Academy.

Released in United States Winter December 21, 2001

Limited Release in United States December 21, 2001

Expanded Release in United States December 25, 2001

Wide Release in United States January 4, 2002

Released in United States February 2002

Shown at Berlin International Film Festival (in competition) February 6-17, 2002.

Inspired by the true story of John Forbes Nash, Jr. Nash's theories have influenced global trade negotiations, national labor relations and even breakthroughs in evolutionary biology.

Sylvia Nasar received $1,000,000 for the rights to her book.

Began shooting March 27, 2001. Completed shooting June 28, 2001.

Released in United States Winter December 21, 2001

Limited Release in United States December 21, 2001

Expanded Release in United States December 25, 2001

Wide Release in United States January 4, 2002

Released in United States February 2002 (Shown at Berlin International Film Festival (in competition) February 6-17, 2002.)

Nominated for the 2001 Eddie Award for Best Edited Feature - Drama, from the American Cinema Editors (ACE).