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Nick
Marshall (Mel Gibson) designated 'executive' in a Chicago
advertising firm believes that he is a 'man's man' - a kind of
man that even men look up to. And inculcates the habit of
calling women 'baby' from his musical idol, Frank Sinatra. An
ace at the job he performs, Nick is sure to be promoted
Creative Director till Darcy Maguire (Helen Hunt) miraculously
beats him to the chair. Darcy Maguire, nous in character is a
woman who is all-focussed to aggressively importune the
commercial women's market.
For
Nick the best way to get an idea about a certain product is to
use it and learn how it feels and what it is all about. And
thus he progresses to employing the products himself when he
encounters an atypical accident that provides him with the
ability to actually hear what women think. Having felt cheated
and resolute to win back the job he thinks is rightfully his,
Nick uses his new talent and boon to his advantage. No sooner
does he start beating Darcy at her own game that he realises
that his smart, intelligent, and beautiful rival, is not all
the "bitch on wheels" people make her out to be.
Also, this inimitable opportunity, helps him sort his
estranged relationship with daughter Alex (Ashley Johnson) and
gets him working on the multifarious relationship he shares
with Lola, a coffee shop waitress. That's when he realises
that he actually may be the only man successful at
understanding what women want.
| Analysis |
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The
film features Mel Gibson in his first-ever romantic
comedy. And though it's a bit difficult for one to
picture him in such a role, the hunk has done more
justice to the role than one can ever imagine. The film
could however have done with a reworking on a few scenes
that seemed sultry - like the one which captures Mel's
'forced' reaction with the appearance and disappearance
of his new powers - seems clichéd and contrived. But
all this compared to the other well-done elements of the
film remains a little thing.
Performance
wise, no complaints whatsoever. As far as Helen and Mel
are concerned they deliver more they seem to promise.
But a special mention goes out to Marisa Tomei (Lola),
who even in a cameo performance executes an act par
excellence.
The
film generates a few honest laughs and Nancy Meyers has
tried to strike a balance between the emotional aspects
and humorous facets. With expectations of an enjoyable
entertainer, Nancy Meyers doesn't fail to deliver on
this one. Do catch it once and the discussions could
well carry over three days over three rounds of hot
beverage (if you may) at the coffee table.
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