As Good as it Gets (1997)

As Good as It Gets (1997) is a romantic dramedy with a sharp edge and a tender heart. Written and directed by James L. Brooks—known for his deft blend of comedy and emotional authenticity (Terms of Endearment, Broadcast News)—the film explores themes of love, mental illness, loneliness, and redemption.

Set in New York City, the film brings together a trio of emotionally wounded characters whose lives unexpectedly intertwine. With witty dialogue, powerhouse performances, and moments of both acerbic humour and sincere vulnerability, As Good as It Gets transcends the limitations of its romantic comedy label.

The film was both a critical and commercial success, earning seven Academy Award nominations and winning two—Best Actor for Jack Nicholson and Best Actress for Helen Hunt.

Plot Summary

The film centres on Melvin Udall (Jack Nicholson), an obsessive-compulsive, misanthropic romance novelist who lives a rigid, isolated life in Manhattan. Melvin is brilliant but deeply unpleasant: he’s homophobic, racist, and hostile to almost everyone he encounters—including his gay neighbour Simon Bishop (Greg Kinnear) and the staff at his favourite diner.

The only person who tolerates Melvin is Carol Connelly (Helen Hunt), a single mother and waitress who serves him breakfast every day at the diner. Carol is exhausted by her life—her young son suffers from chronic asthma and her finances are stretched to the breaking point—but she has a guarded compassion that keeps her grounded.

When Simon is brutally assaulted in a robbery and hospitalised, Melvin is forced by Simon’s art dealer (played with flair by Cuba Gooding Jr.) to care for Simon’s dog. In doing so, Melvin's tightly constructed world begins to shift. He forms an unexpected bond with the dog, which in turn softens him toward Simon. Meanwhile, Carol temporarily quits the diner, causing Melvin to panic and reconsider the way he treats people.

As Melvin, Carol, and Simon embark on a road trip to Baltimore—each with their own personal crises in tow—their lives become increasingly entangled. Through this journey, each character finds new dimensions of connection, healing, and a chance at a better version of themselves.

Direction and Tone

James L. Brooks crafts a film that walks a delicate tightrope between caustic wit and emotional warmth. The tone veers from comedic to dramatic, often within the same scene, but Brooks manages this balance with remarkable finesse. He doesn’t sanitize his characters or their flaws—instead, he lets them earn their redemptive arcs slowly and messily.

The dialogue is sharp, literate, and often blisteringly funny. But Brooks also allows space for silence, for moments of hesitation and awkwardness that lend the film a grounding emotional realism. The result is a movie that feels both stylised and sincere, charming without being cloying.

Brooks's direction is relatively restrained, letting the performances carry the emotional weight. New York City is rendered with subtle melancholy—this isn't a postcard version of the city, but a lived-in, emotionally grey urban space where connection is hard-won.

Performances

Jack Nicholson is in peak form as Melvin Udall. His portrayal is both fearless and layered. Melvin is difficult, even repellent, but Nicholson infuses him with a subtle vulnerability that slowly emerges as the film progresses. His ability to make the audience care for such a flawed man is a masterclass in performance. His line, “You make me want to be a better man,” has become one of the most quoted and iconic in modern romantic cinema.

Helen Hunt, as Carol, gives a performance of warmth, strength, and raw honesty. Her portrayal of a working-class woman stretched to her emotional limits is deeply affecting. Hunt plays Carol as tough but wounded—resistant to romance but ultimately moved by Melvin’s strange sincerity. Her chemistry with Nicholson is electric, full of unexpected tenderness and believable friction.

Greg Kinnear, in a breakout role, is gentle and heartbreaking as Simon. His journey—from trauma and alienation to tentative healing—is subtle and sensitively portrayed. Kinnear brings great humanity to a character that could have easily become a caricature.

Cuba Gooding Jr. adds flair and fire as Frank, Simon’s art dealer and friend. While he has limited screen time, he brings much-needed balance to Melvin’s abusive behavior, challenging him head-on and delivering some of the film’s best rebuttals.

Themes and Emotional Resonance

As Good as It Gets is ultimately about human connection—the risks, the discomfort, and the unexpected rewards that come with letting someone in. At its core are characters who are hurting: a misanthropic man trapped in his compulsions, a mother drowning in stress, and an artist shattered by violence and abandonment. Each of them needs help but doesn't know how to ask for it.

Mental illness, particularly OCD, is a key component of the film. While some aspects are dramatised for narrative or comic effect, the film handles Melvin’s compulsions with surprising empathy. His struggle is not played solely for laughs; it's a barrier to intimacy and change, and part of his redemption is learning to navigate life without being entirely ruled by his disorder.

Another significant theme is redemption—not as a grand transformation but as a series of small, awkward, and painful steps. Melvin doesn’t become a perfect man. Carol doesn’t magically solve her life. Simon’s recovery is gradual and incomplete. The film’s beauty lies in its understanding that healing is messy and never absolute.

The title itself is ironic—Melvin asks, “What if this is as good as it gets?”—expressing a fear shared by all the characters. The film’s journey shows that while life may not become perfect, it can become more bearable, more connected, more meaningful—with effort and courage.

Cinematography and Music

The cinematography by John Bailey is warm and understated, focusing on the emotional intimacy of its characters rather than visual flourishes. The New York locations feel real and inhabited, mirroring the emotional weariness of the protagonists.

Hans Zimmer’s score is light, melodic, and gently romantic. It never overwhelms the scenes but underscores the emotional beats with subtlety and grace. The use of pop standards and soft jazz cues enhances the film’s romantic melancholy.

Legacy and Cultural Impact

As Good as It Gets was a critical and box office success, earning over $300 million worldwide. It was nominated for seven Academy Awards and won two: Best Actor for Nicholson and Best Actress for Hunt, making it one of the few romantic comedies to win Oscars in both lead categories.

The film’s success helped elevate romantic dramedy into a more respectable genre, proving that commercially appealing stories could also carry emotional depth and complex characterizations. It also contributed to wider recognition of OCD as a mental health issue, sparking public interest and discussion (though not without criticism for its dramatized portrayal).

Its influence can be seen in later films that explore unlikely relationships and emotionally damaged characters (Silver Linings Playbook, The Upside), and it remains one of the standout films of the 1990s.

Conclusion

As Good as It Gets is a rare gem: a film that dares to pair romance with rough edges and comedy with deep emotional truths. It doesn’t pretend that love is easy, or that people can be easily fixed—but it offers hope that even the most unlikely of us can reach for something better. With outstanding performances, an intelligent script, and an emotionally resonant core, it’s as good as romantic comedies get.

Rating:

Essential Viewing for: Fans of character-driven drama, romantic comedy with depth, and anyone who’s ever wondered whether they’re too flawed to be loved—and hoped the answer was no.