When Less Is More
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- Words: 599
- Pages: 4
Kathryn
Banter
ENG
103
SEC
9
November
22,
2008
When
Less
is
More:
An
Analysis
As powerful and intriguing the motion picture A Beautiful Mind may be, the
movie’s reviews at first glance seem not to do it justice. However, after one has read one of these short but detailed articles, one can soon appreciate the complexity and simplicity they have to offer. Not ever surpassing over two hundred and fifty words, it is easy to get the gist of the interesting movie from one of these reviews without it ruining the plot or the ending. When reading these reviews, it is safe to say that less is more because they briefly give the general picture‐ nothing less, nothing more.
Despite the fact that each of the reviews is relatively short, every one has a
different aspect or view about the movie. While one may be describing the general history behind the flick, another may be flooding the reader with the actors’ or actresses’ seamless or not so perfect performance. All in all, it mostly just depends on which publication it is written in.
For instance, one of the reviews analyzed was from the popular periodical,
People. For this review, the author, Leah Rozen, uses modern lingo and props to describe the movie and its actors and actresses. She also tries to illustrate how tricky it was to make the movie itself, saying:
“John Nash Jr.’s story seems a natural for a movie, and yet it’s a tricky one. How exactly do you show a brilliant mathematician—one who was awarded a Nobel Prize for his economic theories in 1994 and who still works at Princeton today—going mad and spending decades of his life a delusional prisoner of schizophrenia?” In fact, the only flaw in the whole movie according to her was the fact that Russell Crowe had “difficulty” with a West Virginian accent. Other than that, Rozen thought that the movie was very beautifully done. Nevertheless, with different publications come different opinions. In the ever popular periodical, TIME, Richard Schickel referred to the movie as a “somewhat fictionalized but entirely absorbing biopic about John Forbes Nash Jr”. He continued praising it by detailing Ron Howard’s terrific directing, and how he brilliantly hides the movie’s slowly dawning central surprise. In this review, he also mentions Crowe’s difficulty with the accent, but later praises him for his compelling conviction. Nonetheless, he too rates the film as moviemaking at its highest, most satisfying level. Much like the other two reviews, the Rolling Stone continues to uphold the film’s popularity. Throughout this very short article, the author, Peter Travers, hits on a few names and key highlights throughout the film. However, and most surprising, Travers also lays out his opinion about the somewhat sentimental ending:
“Sadly, Howard blands out in the final third, using old‐age makeup and tear‐jerking to turn a tough true story into something easily digestible. Until then, you’ll be riveted.” Whatever the case may be, one can always bet that a short review will ultimately hold the best information. The similarities between the reviews, such as a brief description and a few opinions, let the reader become informed without ruining any surprises. A powerful and intriguing story always needs a mysterious review, and with A Beautiful Mind‐ less is always more.
Works Cited
Rozen, Leah. "A Beautiful Mind (Motion Picture)." People Vol. 56 Issue 2612/24/2001 p32. 15 Dec 2008 Schickel, Richard. "A Beautiful Mind (Motion Picture)." Time Vol. 158/159 Issue 28/1 12/31/2001 p140. 15 Dec 2008 Travers, Peter. "A Beautiful Mind ." Rolling Stone RS 887 1/17/2002 15 Dec 2008
As powerful and intriguing the motion picture A Beautiful Mind may be, the
movie’s reviews at first glance seem not to do it justice. However, after one has read one of these short but detailed articles, one can soon appreciate the complexity and simplicity they have to offer. Not ever surpassing over two hundred and fifty words, it is easy to get the gist of the interesting movie from one of these reviews without it ruining the plot or the ending. When reading these reviews, it is safe to say that less is more because they briefly give the general picture‐ nothing less, nothing more.
Despite the fact that each of the reviews is relatively short, every one has a
different aspect or view about the movie. While one may be describing the general history behind the flick, another may be flooding the reader with the actors’ or actresses’ seamless or not so perfect performance. All in all, it mostly just depends on which publication it is written in.
For instance, one of the reviews analyzed was from the popular periodical,
People. For this review, the author, Leah Rozen, uses modern lingo and props to describe the movie and its actors and actresses. She also tries to illustrate how tricky it was to make the movie itself, saying:
“John Nash Jr.’s story seems a natural for a movie, and yet it’s a tricky one. How exactly do you show a brilliant mathematician—one who was awarded a Nobel Prize for his economic theories in 1994 and who still works at Princeton today—going mad and spending decades of his life a delusional prisoner of schizophrenia?” In fact, the only flaw in the whole movie according to her was the fact that Russell Crowe had “difficulty” with a West Virginian accent. Other than that, Rozen thought that the movie was very beautifully done. Nevertheless, with different publications come different opinions. In the ever popular periodical, TIME, Richard Schickel referred to the movie as a “somewhat fictionalized but entirely absorbing biopic about John Forbes Nash Jr”. He continued praising it by detailing Ron Howard’s terrific directing, and how he brilliantly hides the movie’s slowly dawning central surprise. In this review, he also mentions Crowe’s difficulty with the accent, but later praises him for his compelling conviction. Nonetheless, he too rates the film as moviemaking at its highest, most satisfying level. Much like the other two reviews, the Rolling Stone continues to uphold the film’s popularity. Throughout this very short article, the author, Peter Travers, hits on a few names and key highlights throughout the film. However, and most surprising, Travers also lays out his opinion about the somewhat sentimental ending:
“Sadly, Howard blands out in the final third, using old‐age makeup and tear‐jerking to turn a tough true story into something easily digestible. Until then, you’ll be riveted.” Whatever the case may be, one can always bet that a short review will ultimately hold the best information. The similarities between the reviews, such as a brief description and a few opinions, let the reader become informed without ruining any surprises. A powerful and intriguing story always needs a mysterious review, and with A Beautiful Mind‐ less is always more.
Works Cited
Rozen, Leah. "A Beautiful Mind (Motion Picture)." People Vol. 56 Issue 2612/24/2001 p32. 15 Dec 2008 Schickel, Richard. "A Beautiful Mind (Motion Picture)." Time Vol. 158/159 Issue 28/1 12/31/2001 p140. 15 Dec 2008 Travers, Peter. "A Beautiful Mind ." Rolling Stone RS 887 1/17/2002 15 Dec 2008
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