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 <email@example.com>
After he works out the sequence of moves which will win the game, Josh offers Jonathan a draw before making his move. Proper chess etiquette dictates that a player only offer a draw AFTER making a move. 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 the 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 ...
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The original film ends with a title card stating that Josh still plays chess
along with several other activities, indicating that he has a well-rounded life. When the film was broadcast on NBC in 1996, this title card was updated: it now stated that Josh was working to become a grandmaster, and that he now considered Jack Kerouac, not Bobby Fischer, to be his primary influence.
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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