Myth supersedes man.
It is impossible to tell in two hours the mess of a man who simultaneously gave language to a fundamental human condition and who also couldn’t, at times, distinguish between real and not real. Thankfully, for the applied economics work that he described so succinctly and eloquently, he did not kill anyone in its stead. Because John Nash held both of these extremes inside of his brain simultaneously, if not incongruously, his story is intrinsically interesting because of the questions it generates: how did he keep himself together enough to give us his famous theory? What challenges did he face and how did he overcome them? Which characters influenced him and how did they evolve to meet him where he was? What don’t we see? Instead of a round look at the person who was, A Beautiful Mind chooses to highlight Nash’s best self, tempering it with periods of prolonged strife. The narrative is clean if not flawed.
In her biography, Sylvia Nasar does not shy away from John Nash the man; in his adaptation, Ron Howard does, and creates John Nash the character, the John Nash that now, outside mathematics and economics enthusiasts, a plurality of audience members know. This is not a problem. As an audience, each person has to decide what to believe, which is the basis of myth. But: a movie like A Beautiful Mind does help us attempt to answer the question of what is more worthwhile from a biography like this, pure truth, as we might expect from the Oscar, or pure entertainment, which we might expect from E!
The distinction between the two is not necessarily evenly distributed. Picture this: there is not a straight line between pure documentary and pure entertainment and the best films hit some sort of apex of some sort of normal distribution. Or, at least, they are supposed to. Empirically, if this is the case, there should be some objective, measurable data to determine “BEST.” Didactically, there is no data besides financial returns and those tend to correspond to popularity, not necessarily quality, and there is no way to marry the two without editorializing the results. So: how should we, as individual readers, and, potentially as a voting bloc, judge the man John Nash as we (or they) evaluate the myth John Nash? Let’s look at a few examples.