...and the getting was good

There's a lot to admire within "As Good as it Gets," a film that holds up 17 years after its theatrical release with quirky but plausible characters, sharp and smart dialogue, and performances that live up to the movie's title. Here's what we collectively learned about this picture after hashing out the fine points last evening at CineVerse:

WHAT IS SURPRISING ABOUT “AS GOOD AS IT GETS” AND DEFIES EXPECTATIONS?

·       The unexpected chemistry between Nicholson and Hunt, who is 26 years younger than the former and who make an unlikely romantic pair, despite their personality differences and age disparity. Hunt, although primarily known as a TV actress in 1997, is impressive and holds her own with a heavyweight like Nicholson, as evidenced by her spirited reactions to his behaviors.

·       The things that Udall says and does are decidedly politically incorrect and insensitive, which risk upsetting minority viewers; just 17 years later, gay bashing and lampooning has become much less tolerated.

·       The film feels ideally cast with the exact right actor for each part; this, despite the fact that the careers of Hunt, Kinnear and Gooding Jr. quickly went south in the years after this film was released.

·       It cleverly brings together several uniquely different characters—who each have nothing in common and live extremely different lifestyles—for a road movie that somehow gels. That all three learn to harmonize together and become friends says a lot about the message of this picture.

·       It’s also one of the rare feature films to tackle the topic of obsessive compulsive disorder and how problematic and disabling it can be to sufferers—although it’s approached in a more comic vein.

THEMES TO BE MINED FROM THIS MOVIE

·       Salvation: Udall is such an abrasive, despicable character that, unless he can be redeemed somehow and shown in a sympathetic light, this film fails to connect with audiences.

·       The redemptive power of love: Udall can’t be redeemed, however, without the love of a good woman, in the form of Carol, who seems to be the unlikeliest of candidates to give him affection.

·       Opposites attract: As aforementioned, each of the three main characters shares virtually no commonality with each other; Udall is an obsessive-compulsive bigoted writer; Carol is a single mother starving for romance and attention; and Simon is an artistic gay man who has suffered a physical attack and gone broke.

·       Our interconnectedness as human beings, regardless of differences. Each of the 3 main characters has distinctive flaws and problems, yet each can and does help each other.

·       Surrogate parenting: this is less of a love triangle (considering that Simon is gay) than a surrogate parental relationship, in which Melvin is the gruff and insensitive yet generous patriarch and Carol is the sensitive, caring matriarch to Simon, who seeks out this surrogate guidance from others because his real parents have rejected him.

WHY IS NICHOLSON THE IDEAL CASTING CHOICE FOR MELVIN UDALL?

·       As written, the character has a very offensive, repellant, seemingly incurable personality that makes it very hard to root for him.

·       Yet, Nicholson has proved to be a crowd-pleasing, lovable sinner in many memorable roles prior to this, and his devilish grin, arched eyebrows, body language and unique voice and manner of delivery are irresistible.

·       Thus, his talent and magnetism causes us to trust that the character will have some redemptive arc, Good Samaritan turn or epiphany that will reward our faith in him.

·       Also, Nicholson is too good an actor to allow Udall’s conversion from jerk to lovable and compassionate misanthrope to be too silly, overly sentimental or sappy.

OTHER FILMS DIRECTED BY JAMES L. BROOKS

·       Terms of Endearment

·       Broadcast News

·       Spanglish