An English Professor tries to deal with his wife leaving him, the arrival of his editor who has been waiting for his book for seven years, and the various problems that his friends and associates involve him in.
Acting under the cover of a Hollywood producer scouting a location for a science fiction film, a CIA agent launches a dangerous operation to rescue six Americans in Tehran during the U.S. hostage crisis in Iran in 1980.
Josh Waitzkin is just a typical American boy interested in baseball when one day he challenges his father at chess and wins. Showing unusual precocity at the outdoor matches at Washington Square in New York City, he quickly makes friends with a hustler named Vinnie who teaches him speed chess. Josh's parents hire a renowned chess coach, Bruce, who teaches Josh the usefulness of measured planning. Along the way Josh becomes tired of Bruce's system and chess in general and purposely throws a match, leaving the prospects of winning a national championship in serious jeopardy. Written by
Rick Gregory <firstname.lastname@example.org>
The real Bruce Pandolfini is very different from the character Ben Kingsley plays. Pandolfini is actually a Brooklynite with a mustache, glasses, and curly brown hair, and he is reported to have a very friendly, soft-spoken demeanor. In fact, Pandolfini can be seen in a cameo role in the movie; he is a kibitzer when Ben Kingsley goes to see Josh in Washington Square; thus, Pandolfini tells "Pandolfinni" that Josh is a "young Fischer." Josh Waitzkin is quick to point out that the portrayal in the film is fiction, and should not be confused with reality. See more »
In the opening scene when Josh encounters Vinnie for the first time, as Vinne stands there with the baseball pointing at the chess piece the sunlight is over his left shoulder. In the reverse angle shot of Josh, the sunlight should be over his *right* shoulder, yet the light is on Josh's left. See more »
[about Bobby Fischer]
In the days before the event, the whole world wondered if he would show up. Plane after plane waited on the runway, while he napped, took walks, and ate sandwiches. Henry Kissinger called and asked him to go for his country's honor. Soon after arriving, he offended he Icelanders by calling their country inadequate because it had no bowling alleys. He complained about the TV cameras, about the lighting, about the table and chairs, and the contrast of the squares...
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Zaillian's genius in "Searching for Bobby Fischer"
In SEARCHING FOR BOBBY FISCHER, Steven Zaillian's is the most complete and near-flawless film-work of the 1990s. I can't say merely "director's work" because he also wrote the screenplay. And (I have to presume) he chose Conrad Hall as d.p., James Horner for the music, Wayne Wahrman as film-editor, and he worked with a lighting director, sound director, set director and more -- each of whom did a job worthy of the highest praise. And the cast, the supernal cast -- many of whom have had larger and more celebrated roles, but none of whom has ever nailed a role more satisfyingly -- Kingsley, Mantegna, Allen, Fishburne -- even the smaller and cameo bits are effectively faultless -- by Linney, Stephens, Shalhoub, Pendleton. And of course, Pomeranc's work is a kind of miracle. Every part of it evokes from me applause for Zaillian's imagination, sensibility, knowledgeability, intelligence, judgment.
I confess I post this comment because none of the other comments I've seen on SEARCHING seems to me to realize how much Zaillian must have contributed to making this -- and I think it deserves this adjective -- GREAT movie. (I further confess I didn't first watch the movie until some three years after its debut because of its title. I was damned if I wanted to spend two hours in the presence of someone as nasty-seeming as Fischer. But the title of course was Fred Waitzkin's, the author of the source book. Fred, you cost me a few years -- but Steven Zaillian has made up for it many times over.)
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