AFI Catalog of Feature Films
Movie Detail
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A Beautiful Mind
Director: Ron Howard (Dir)
Release Date:   4 Jan 2002
Premiere Information:   New York and Los Angeles opening: 21 Dec 2001
Production Date:   27 Mar--28 Jun 2001
Duration (in mins):   134-135
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Cast:   Russell Crowe (John [Forbes] Nash [Jr.])  
    Ed Harris ([William] Parcher)  
    Jennifer Connelly (Alicia [Larde] Nash)  
  and Christopher Plummer (Dr. Rosen)  
    Paul Bettany (Charles [Herman])  
    Adam Goldberg ([Richard] Sol)  
    Josh Lucas ([Martin] Hansen)  
    Vivien Cardone (Marcee)  
    Anthony Rapp (Bender)  
    Jason Gray-Stanford (Ainsley)  
    Judd Hirsch ([Professor] Helinger)  
    Austin Pendleton (Thomas King)  
    Victor Steinbach (Professor Horner)  
    Tanya Clarke (Becky )  
    Thomas F. Walsh (Captain)  
    Jesse Doran (General)  
    Kent Cassella (Analyst)  
    Patrick Blindauer (MIT student)  
    John Blaylock (Photographer)  
    Roy Thinnes (Governor)  
    Anthony Faston (Young man)  
    Cheryl Howard (Harvard administrator)  
    Rance Howard (White-haired patient)  
    J. J. Chaback (Code-red nurse)  
    Darius Stone (Adjunct)  
    Josh Pais (Princeton professor)  
    Alex Toma (Toby)  
    Valentina Cardinalli (Joyce)  
    Teagle F. Bougere (Young professor)  
    Jill M. Simon (Bar co-ed)  
    David B. Allen (John [Forbes] Nash, Jr., 13 years old)  
    Michael Esper (John [Forbes] Nash, Jr., 20 years old)  
    Catharina Eva Burkley (Girl at bar)  
    Amy Walz (Blond in bar)  
  Brunettes Tracey Toomey    
    Jennifer Weedon    
    Yvonne Thomas    
    Holly Pitrago    
  Pen ceremony professors Isadore Rosenfeld    
    Thomas C. Allen    
    Dave Bayer    
    Brian Keith Lewis    
    Tom McNutt    
    Will Dunham    
    Glenn Roberts    
    Ed Jupp    
  Princeton students Christopher Stockton    
    Gregory Dress    
    Carla Occhiogrosso    
    Matt Samson    
    Lyena Nomura    
  Insulin treatment nurses Kathleen Fellegara    
    Betsy Klompus    
  Technicians Stelio Savante    
    Logan McCall    
    Bob Broder    

Summary: 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.   

Production Company: Universal Pictures (Vivendi Universal)
  DreamWorks Pictures  
  Imagine Entertainment  
Production Text: A Brian Grazer Production; A Ron Howard Film
Distribution Company: Universal Studios (Vivendi Universal)
Director: Ron Howard (Dir)
  Aldric La'Auli Porter (1st asst dir)
  Kristen Bernstein (2d asst dir)
  Noreen R. Cheleden (2d 2d asst dir)
  Todd Hallowell (2d unit dir)
  Joe Burns (2d unit 1st asst dir)
  Shea Rowan (2d unit 2d asst dir)
Producer: Brian Grazer (Prod)
  Ron Howard (Prod)
  Karen Kehela (Exec prod)
  Todd Hallowell (Exec prod)
  Maureen Peyrot (Co-prod)
  Aldric La'Auli Porter (Assoc prod)
  Louisa Velis (Assoc prod)
  Kathleen McGill (Assoc prod)
Writer: Akiva Goldsman (Wrt)
Photography: Roger Deakins (Dir of photog)
  Dave Dunlap (2d unit dir of photog)
  Kyle Rudolph (Cam op)
  Andy Harris (1st asst cam)
  Jim Belletier (2d unit 1st asst cam)
  Patrick Quinn (2d asst cam)
  Kris Enos (2d unit 2d asst cam)
  Gerardo Puglia (B cam op)
  Tim Norman (1st asst B cam)
  Gabriel Goodenough (Cam loader)
  William O'Leary (Gaffer)
  Greg Addison (2d unit gaffer)
  Joe Grimaldi (Best boy electric)
  Peter Walts (2d unit best boy electric)
  Jeremy Knaster (Electric)
  Chris Rosen (Electric)
  Michael Maurer (Electric)
  Ed Cohen (Electric)
  Dennis Peters (Electric)
  Ray Preziosi (Electric)
  Fred Muller (Electric)
  Mike Rudolph (Electric)
  Sam Friedman (2d unit electric)
  Jeff Keaton (2d unit electric)
  Rich Ford (Rigging gaffer)
  Louis Petraglia (Rigging best boy electric)
  Lance Shepard (Rigging electric)
  Jim Galvin (Rigging electric)
  George Hines (Rigging electric)
  Brian Murphy (Rigging electric)
  Mitch Lillian (Key grip)
  Sal Lanza (2d unit key grip)
  Charlie Marroquin (Best boy grip)
  Jon Nussbaum (2d unit best boy grip)
  Bruce Hamme (Dolly grip)
  Rick Marroquin (Dolly grip)
  Ken Fundus (2d unit dolly grip)
  Paul Candrilli (Grip)
  Franz Yeich (Grip)
  Andy Sweeney (Grip)
  Ted Robinson (Grip)
  Chris Vaccaro (Grip)
  Thomas McGrath Woods (Grip)
  Glen Weinstein (2d unit grip)
  Keith Kastner (2d unit grip)
  John Halligan (2d unit grip)
  Andrew Farley (2d unit grip)
  Jim Boniece (Key rigging grip)
  Mike McFadden (Best boy rigging grip)
  Howard Davidson (Rigging grip)
  Todd Klein (Rigging grip)
  Eli Reed (Still photog)
  Otto Nemenz (Arriflex 535 cam by)
  Greg Edwards (Video asst)
  Kevin McKenna (Video asst)
Art Direction: Wynn Thomas (Prod des)
  Robert Guerra (Art dir)
  Nancy Winters (Asst art dir)
  Bradley Mayer (Asst art dir)
  Erik Knight (Art dept admin)
  Brick Mason (Storyboard artist)
  Warren Drummond (Storyboard artist)
  Leo Holder (Graphic artist)
Film Editor: Mike Hill (Ed)
  Dan Hanley (Ed)
  Richard Friedlander (1st asst ed)
  Guy Barresi (Asst ed)
  Glenn Allen (Asst ed)
  Kate Eales (Apprentice ed)
  Gary Burritt (Negative cutter)
Set Decoration: Leslie Rollins (Set dec)
  Christine Moosher (Asst set dec)
  Tom Allen (Prop master)
  Paul Weathered (2d unit prop master)
  Betsy Klompus (Asst prop master)
  Ann Edgeworth (Asst prop master)
  Tyler Kim (2d unit asst props)
  Joe Proscia (Leadman)
  Martin Bernstein (Const coord)
  Richard Bryan Douglas (Key carpenter foreman)
  Arne Olsen (Key const grip)
  Jeff Glave (Charge scenic)
  Anthony Munafo (Standby set dresser)
Costumes: Rita Ryack (Cost des)
  Kevin Brainerd (Asst cost des)
  Bill Campbell (Cost supv)
  Winsome G. McKoy (Cost supv)
  Marcia Oste (2d unit cost supv)
  Kevin Draves (2d unit cost supv)
  Peter White (Mr. Crowe's cost)
  M. J. McGrath (Ward asst)
  Laurie Buehler (Seamstress)
Music: James Horner (Mus comp)
  Jim Henrikson (Mus ed)
  Barbara McDermott (Asst mus ed)
  Kathy Nelson (Exec in charge of film mus for Universal Studios)
  Julyce Monbleaux (Mus supv)
  Simon Rhodes (Mus scoring mixer)
  James Horner (Orch)
  Randy Kerber (Orch)
  Bob Bornstein (Mus prep)
  Sandy De Crescent (Mus contractor)
  Todd Scoring Stage (Mus rec and mixed at)
  Charlotte Church (Score vocals performed by)
Sound: Chic Ciccolini III (Supv sd ed)
  Chris Jenkins (Re-rec mixer)
  Frank Montano (Re-rec mixer)
  Allan Byer (Prod sd mixer)
  Tony Starbuck (2d unit sd mixer)
  Patricia Brolsma (Boom op)
  Joel Roi Aronowitz (2d unit boom op)
  Alfredo Viteri (Cableman)
  Stan Bochner (Dial ed)
  Lou Cerborino (Dial ed)
  Marc Laub (Dial ed)
  Deborah Wallach (ADR supv)
  Kenna Doeringer (ADR asst ed)
  Harry Peck Bolles (Sd eff ed)
  Eytan Mirsky (Sd eff ed)
  Daniel Pagan (Sd eff ed)
  Missy Cohen (Foley ed)
  Patrick Dundas (Foley ed)
  Don Peebles (Asst sd ed)
  Robert Olari (Rec)
  Paul Zydel (ADR mixer)
  Dean Drabin (ADR mixer)
  Michael Thompson (ADR mixer)
  Doug Murray (ADR rec)
  Claudia Carle (ADR rec)
  Livia Ruzic (ADR rec)
  Lynne Redding (Loop group coord)
  Nancy Cabrera (Foley artist)
  Ginger Geary (Foley artist)
  C5, Inc. (Foley rec studio)
Special Effects: Will Caban (Spec eff coord)
  Steve Kirshoff (Spec eff)
  Fred Kramer (Spec eff asst)
  Gilbert Gertsen (Spec eff asst)
  Pacific Title (Titles and opticals by)
  Digital Domain (Spec visual eff and digital anim)
  Kevin Mack (Visual eff supv)
  Kelly L'Estrange (Visual eff prod)
  Matthew Butler (Digital eff supv)
  Claas Henke (Compositing supv)
  Swen Gillberg (3D integration lead)
  Nancy Adams (3D integration artist)
  Jason Doss (3D integration artist)
  Scott Edelstein (3D integration artist)
  Chris Logan (3D integration artist)
  Keith Huggins (3D eff anim)
  Niko Kalaitzidis (3D eff anim)
  Greg Duda (Tech developer)
  Dan Lemmon (Tech development)
  Eliot Cail-Sirota (3D digital modeler)
  Thomas Dickens (3D digital modeler)
  Krista Benson (Digital compositor)
  Gimo Chanphianamvong (Digital compositor)
  Jessica Harris (Digital compositor)
  Brandon McNaughton (Digital compositor)
  Katie Nook (Digital compositor)
  Perri Wainright (Digital compositor)
  Shannan Burkley (Digital paint artist)
  Laura Ormsby (Digital rotoscope artist)
  Marian Rudnyk (Digital rotoscope artist)
  Doyle Smith (Digital rotoscope artist)
  Jeffrey Kalmus (Digital imaging supv)
  Jessica Westbrook (Digital eff coord)
  Paul Abatemarco (Visual eff coord)
  Heather Morrison (Visual eff ed)
  Steve Siracusa (Asst visual eff ed)
  Bekki Misiorowski (Visual eff accountant)
  Nancy Bernstein (Visual eff exec prod)
  Keith Vanderlaan's Captive Audience Productions, Inc. (Makeup eff created by)
  Mary Kim ([Spec eff] prod supv)
  Glen Hanz (Sculptor)
  David Barton (Sculptor)
  John Brown (Sculptor)
  Arthur Pimentel (Mold shop supv)
  Todd Tucker (Eff tech)
  John Kim (Eff tech)
  Michael Peterson (Eff tech)
  Froylan Tercero (Eff tech)
  Christina Patterson (Eff tech)
  Claudia Hardy (Eff tech)
  Mark Nieman (Silicone tech)
  Richard Starke (Silicone tech)
  Harvey K. Lowry ([Spec eff] op mgr)
  Alexei O'Brien ([Spec eff] prod asst)
  Laura Smith ([Spec eff] prod asst)
Make Up: Colleen Callaghan (Key hair stylist)
  Antoinette Carr (2d unit key hair stylist)
  Dale Brownell (Hairstylist)
  Suzy Mazzarese Allison (Hairstylist)
  Neal Martz (Makeup dept head)
  Todd Kleitsch (Key makeup)
  Dennis Eger (2d unit key makeup)
  Kymbra Callaghan (Ms. Connelly's makeup)
  Linda Lazar (Makeup artist)
  Greg Cannom (Spec makeup created by)
  Brian Sipe (Prosthetic eff supv)
  Wesley Wofford (Prosthetic eff supv)
Production Misc: Jane Jenkins (Casting)
  Janet Hirshenson (Casting)
  Kristin McTigue (Casting asst)
  Bill Dance Casting (Extras casting)
  Wendy Goodman Thum (Extras casting assoc)
  Kathleen McGill (Unit prod mgr)
  Lori Johnson (Asst unit prod mgr)
  David Bausch (Prod coord)
  Jane Kelly Kosek (Asst prod coord)
  Steve Castellano (Post prod supv)
  Nicole Macagna (Post prod asst)
  Eva Z. Cabrera (Scr supv)
  Lynne Twentyman (2d unit scr supv)
  Judi Dickerson (Dial coach)
  Lyn Pinezich (Loc mgr)
  Evan Perazzo (2d unit loc mgr)
  Mike Kriaris (Asst loc mgr)
  Patty Carey (Asst loc mgr)
  Jane Ferguson (DGA trainee)
  Tamara Bally (Prod accountant)
  Judy Pursely (1st asst accountant)
  Steve Ginsburg (2d asst accountant)
  Macall Polay (Payroll accountant)
  Jeremy D. Pratt (Const accountant)
  Tony Hernandez (Accounting clerk)
  Julie Kuehndorf (Unit pub)
  Eva Burkley (Asst to Mr. Hallowell)
  Anna Culp (Asst to Mr. Grazer)
  Mark Dumbrell (Asst to Mr. Crowe)
  Meredith Garlick (Asst to Mr. Crowe)
  Lourene Bevaart (Mr. Crowe's trainer)
  Michelle Macirella (Prod secy)
  Audra Polk (Prod secy)
  John Silvestri (Prod asst)
  Chris Collins (Prod asst)
  Mikki Ziska (Prod asst)
  Gary S. Rake (Prod asst)
  Melissa Brides (Prod asst)
  Shawn Alexander (Prod asst)
  David Catalano (Prod asst)
  Mehgan Porter (Prod asst)
  David Tomasini (Prod asst)
  Rachel May (Prod asst)
  Kevin Williams (Prod asst)
  Kimie Kimura-Heane (Prod asst)
  Aaron Dunsay (Prod asst)
  Tom Gravel (Prod asst)
  Ganious (Prod asst)
  Marianne Bell (Prod asst)
  Tara Muskus (Prod asst)
  Brian Lennon (Prod asst)
  Steven Gordon (2d unit prod asst)
  Jason Kadlec (2d unit prod asst)
  Darren Maynard (2d unit prod asst)
  Cat Burkley (2d unit prod asst)
  Tara Muskus (2d unit prod asst)
  Yoon Kim (2d unit prod asst)
  Edmund Nardone (Projectionist)
  Mike Hyde (Transportation capt)
  Robert Buckman (Transportation co-capt)
  James McGrane (2d unit transportation capt)
  Jeanne Jirik (Craft service)
  David Colbert M.D. (Dermatologist)
  Kathy Fellegara (Set medic)
  Rich Fellegara (Set medic)
  Dr. Marianne Gillow (Psychology consultant)
  Dave Bayer (Math consultant)
  Tomkats (Catering)
Stand In: Peter Bucossi (Stunt coord/stunts)
  Mike Russo (Addl stunt coord)
  Tim Gallin (Stunts)
  Jack McLaughlin (Stunts)
  Phil Rudolph (Stunts)
  Don Hewitt (Stunts)
  John Roney (Stunts)
  Frank Ferrara (Stunts)
  Mick O'Rourke (Stunts)
  Bill Anagnos (Stunts)
  Charles Page (Stunts)
  Steve Mack (Stunts)
  Brennan McKay (Stunts)
  Steven Pope (Stunts)
  Brian Smyj (Stunts)
  Keith Siglinger (Stunts)
  Jay Boryea (Stunts)
Color Personnel: Mike Millikan (Col timer)
MPAA Rating: PG-13
Country: United States
Language: English

Music:
Songs: "All Love Can Be," music by James Horner, lyrics by Will Jennings, performed by Charlotte Church, courtesy of Sony Music Entertainment (UK) Limited; "Columbia Aspexit," written by Hildegard of Bingen, performed by Emma Kirby, Gothic Voices, directed by Christopher Page, courtesy of Hyperion Records Limited, London, England.
Composer: Hildegard of Bingen
  James Horner
  Will Jennings
Source Text: 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).
Authors: Sylvia Nasar

Copyright Claimant Copyright Date Copyright Number
Universal City Studios, Inc. and DreamWorks, LLC 28/12/2001 dd/mm/yyyy PA0001069545

PCA NO: 38595
Physical Properties: Sd: Dolby Digital, SDDS (Sony Dynamic Digital Sound); DTS Digital Sound in selected theatres
  col: DeLuxe
  Lenses/Prints: Kodak

 
Genre: Biography
Sub-Genre: Historical
 
Subjects (Major): Geniuses
  Hallucinations
  Love
  Mathematics
  Paranoia
  Princeton University
  Professors
  Schizophrenia
 
Subjects (Minor): Automobile chases
  Barns
  Cold War
  Conspiracy
  Economics
  Fathers and sons
  Government agents
  Massachusetts Institute of Technology
  Medicine
  Nobel Prize
  Pens and pencils
  Psychiatrists
  Romance
  Roommates
  Sanitariums
  Secret codes
  Spies
  Wounds and injuries

Note: 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 Jul 2001 NYT 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 31 Aug 1998 DV 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 Sep 2000, HR 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 HR reported in Feb 2000 that Robert Redford wanted to direct and Tom Cruise was considering starring in the film, by Apr 2000, a DV 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 11 Mar 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 1 Jun 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 13 Mar 2002 LAT 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 Jun 2001 Entertainment 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 Dec 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 HR 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 Oct 2001 HR item announced that although Universal had planned to release the film nationally on 25 Dec 2001, the studio now planned for a limited Christmas debut and a wide release on 4 Jan 2002. The New York and Los Angeles release was subsequently moved up to 21 Dec 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. 

Bibliographic Sources:   Date   Page
Daily Variety   31 Aug 1998   p. 1, 13.
Daily Variety   13 Apr 2000   p. 1, 16.
Entertainment Weekly   15 Jun 2001   p. 12.
Entertainment Weekly   24-31 Aug 2001   p. 73.
Entertainment Weekly   14 Dec 2001.   
Hollywood Reporter   24 Feb 2000   p. 1, 78.
Hollywood Reporter   6 Sep 2000.   
Hollywood Reporter   3 Apr 2001.   
Hollywood Reporter   22 May 2001.   
Hollywood Reporter   5 Oct 2001.   
Los Angeles Times   6 Apr 2001.   
Los Angeles Times   21 Dec 2001   Calendar, p. 1, 12.
New York Times   7 Jun 2001.   
New York Times   10 Jun 2001.   
New York Times   5 Jul 2001.   
New York Times   21 Dec 2001.   
The Times (London)   5 Apr 2001.   
US Weekly   31 Dec 2001.   

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.
 
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