Nurse Betty (2000)

The Bad: The gimmick of this film, as with very many, is contrast. This time its the well-exercised contrast between mindless brutality and open, honest innocence. What's new is the ratcheting up of the extremes. The violence is a new extreme in this context. How much more can we escalate? Is our own innocence so permanently numb?

The Good: This film is remarkably sophisticated in its self-referential layering. Here is an indicator that in this category at least the general intelligence level in the US is rising. It takes real abstract thinking to appreciate this, and one imagines that an audience in the 80s would be thoroughly puzzled.

Simple films with theatric self-reference usually mix real life with a play-within-the-play. "Shakespeare in Love" and "illuminata" are of this ilk. Slightly more complex is real life within the play as with "The Truman Show." But here we have a new and lovely evolution, six layers of self-reference.

We have the layer of the real-life Renee and her film character. I am in no doubt that the marketing of Renee as the new America's Sweetheart is the real basis of this effort. So Renee playing the public Renee. Then we have Renee playing Betty. We are lead to believe that the three are simultaneously real. But this has been common for 75 years.

What's new is Betty "becoming" Nurse Betty. Another layer, and then full circle as the "real" nurse Betty becomes the play Nurse Betty. This last is assumed before it actually happens. Finally, we have Freeman's fantasy angel Betty, which we assume is the root of all the conflated layers. That makes six layers by my count. Think about it: this film requires a sophisticated viewer. As it will likely be a big hit, that sophistication must exist in the masses. Wonderful!

Incidentally, only two people in this film can act, and one is not Chris Rock. What's with this guy?

Fmovies: As Betty Sizemore (Renee Zellweger) secretly watches her tyrannical husband Del (Aaron Eckhart) being murdered by the vengeful hitmen Charlie and Wesley (Morgan Freeman and Chris Rock), her bruised sense of reality becomes totally immersed in the fantasy world of her favorite soap opera. In a state of complete denial and delusion, Betty escapes both physically and mentally from her unsatisfied, small town life to search for "Dr. David Ravell" (Greg Kinnear), the handsome and loving hero of "A Reason to Love", a soap opera set in a hospital and produced in Los Angeles. Immune to reality, Betty arrives in L.A. and becomes "Nurse Betty" as she tries to belong in the hospital world of her dream lover. Meanwhile, the angered Charlie and Wesley track Betty down, convinced she is a dangerous witness who also knows about their compromising dealings with Del.

Nurse Betty creates comedy and suspense by contrasting its main character's extreme innocence and optimism with the evident hypocrisy and violence that surround her. By clearly defining the protagonist's difficult life, Nurse Betty justifies its character's tendency to turn away from reality. Thus, while offering a comment about the popularity of the soap opera within the film, Nurse Betty also makes a comment regarding the widespread addiction to television and its celebrities. In addition, Nurse Betty benefits from the effective manipulation of its protagonist's mental state, particularly in those scenes where she cannot distinguish between "Dr. David Ravell", the character, and George McCord (Greg Kinnear), the actor who plays him. Betty's incapacity to recognize George as an actor leads to funny misunderstandings, which stress the magnitude of her delusional state. However, in spite of these successes, Nurse Betty suffers from the troubling characterizations through which the narration evolves. For example, while Charlie and Wesley are consistently portrayed as a comical pair, the brutality of their actions undermines any sense of appreciation or acceptance the viewer might have initially experienced. Similarly, although the initial scenes establish Del as a detestable man, the humiliation and violence he experiences with his murderers surpass all the humiliation and violence he caused his wife Betty.

Finally, toward the end of the film, Charlie undergoes awkward transformations as he develops an obsession for Betty; an obsession which results in noble feelings of love, and which ultimately destroys him. Consequently, since the characters' roles as victims lack consistency, the story's victimization processes seem random and unsubstantial. All in all, Nurse Betty's indeterminacy --rather than creating suspense-- weakens its characters and pollutes its plot.

This is an adorable, if somewhat edgy, comedy from a clever and witty script by John C. Richards, crisply directed by the very talented Neil LaBute, proving that he can handle comedy just as adroitly as he can the art house movie.

Renée Zellweger stars as Betty Sizemore, a sort of Doris Day of the 21st century, a waitress from Kansas whose fantasy life centers around Dr. David Ravell (Greg Kinnear), star of a TV soap opera called, "A Reason to Live," to such a fanatical degree that she has memorized lines from the show after watching the tapes over and over again. (This will come in handy later on.)

Morgan Freeman and Chris Rock play a father-son team of cocaine-dealing hit men who ignite the premise of the movie by murdering Betty's slimy used car salesman husband, played by Aaron Eckhart, who starred in In the Company of Men (1997), also directed by Neil LaBute. Chris Rock is a comedic psychopath, and Freeman a fatherly murderer whose favorite dictum is "three in the head, you know they're dead." One of the amazing and characteristic things about Morgan Freeman is that even while playing a professional criminal, he manages to sound like the wisest, gentlest man you ever knew.

True, the plot relies heavily on co-incidence (Betty copping the keys to the Buick that just happens to have the goods in the trunk), precise timing (meeting Dr. David and entourage at exactly the right moment), and some questionable psychology (Betty's partial and convenient amnesia). But such contrivances should be written off as poetic license and ignored. After all, who would criticize Shakespeare for the tortured plots of his comedies? More significantly, what makes this work is the cleverness of the plot melded well with the personalities of the characters (while gently satirizing them), and some very funny dialogue. My favorite line is when Freeman, looking gravely at a picture of the disappeared little miss Nurse Betty, soberly remarks to Rock, "We may be dealing with a cunning, ruthless woman here." I wonder, could it be that some of the pseudonymous (and humorless) reviewers who trashed this movie here and at IMDb are jealous, out-of-work screen writers?

An observation and a question: Renée Zellweger has the kind of on-screen presence to delight the most jagged heart. And who really is the reigning queen of contemporary filmland comedy, Zellweger or Reese Witherspoon? They are both brilliant. Witherspoon is a little more over the top while Zellweger is more impish. It would be interesting to see them trade roles, say, Zellweger as goody-goody A-student Tracy Flick in Election (1999) and Witherspoon as Nurse Betty. Too bad something like that can't be done.

Incidentally, the song, "Ca Sera, Sera" heard in the background won an academy award for best song in the Hitchcock thriller, The Man Who Knew Too Much (1956), starring James Stewart and Doris Day. The reason it reappears here is not entirely clear, but the resemblance of the wonderfully naive Nurse Betty to the on- and off-screen Doris Day (who also had a hit recording of "Ca Sera, Sera,") goes beyond the strawberry blond hair to a kind of irrepressible innocence. In Nurse Betty, however, the Doris Day world of white picket fences and monogamy is given a contemporary spin. Although this is to some extent a romantic comedy, it is one in which the answer to the question, Who gets the girl? is one never seen in a Doris Day flick.

Bottom line: if you can watch this without laughing

Nurse Betty fmovies. There's much to enjoy here if you like movies because of the actors. I was attracted to this film because of Morgan Freeman and Chris Rock who always deliver, but there's also great acting from the rest of the cast, most notably Zellweger but Kinnear is also perfectly casted as is the rest, no exceptions. All a joy to watch.

And then there's the offbeat plot with a woman living in a fantasy of being a soap character that takes over her life and makes her forget that she was just a waitress in Kansas with a cheating husband who got killed in front of her eyes by hitmen. Sometimes I thought the movie was thrown way off balance with the sudden bloodshed but most of the time it was a very warm film. It was the wonderful, strange mixture between cold reality and movielike fantasy that made it interesting. It's good for a couple of dosed laughs but I would classify this as a tragic comedy with a relatively happy and satisfying ending, tho it may be cheap to some. Funny thing is, as life can be stranger than film, all in the movie could in theory happen! And the focus is still very much on human emotions so in that way the movie is still down to earth.

Better than I expected, this film rules, can't get enough of Morgan or Chris but really everybody did a great job making this film.

8 out of 10

LaBute's 'Nurse Betty' tells the story of a young housewife (and part-time waitress) in search of the man of her dreams. Sounds like another fluffy romance, no? Not quite! Her adulterous trash of a husband is scalped. Two hit men, a father who's about to retire and his son, are after her (the father happens to be in love with her). The man of her dreams is a character from a soap opera...she travels half the country just to be with him. Little does she know that it's only an illusion. Yes, it is a bizarre little comedy but fun nonetheless. Zellweger proves to be the perfect choice to play Betty. She delivers a very nuanced, comic and moving performance. Has Morgan Freeman ever gone wrong? He's just laugh out loud hilarious. Chris Rock too takes a chance playing the villain and does a fine job. Greg Kinnear and the supporting cast that includes Tia Texado, Allison Janney, Aaron Eckhart, Kathleen Wilhoite and Crispin Glover are all good. the soundtrack is beautiful and very romantic. It just adds to the surreal mood of the film. A lot of the film takes place on the road giving us glimpses of the beautiful American landscape and an adventurous feel. Towards the end, there's a beautiful scene between Morgan Freeman and Renee Zellweger (well I can't say what it's about without giving spoilers) which is the real turning point in Betty's life and the way that scene was presented amidst the chaos in the next room is amazing. 'Nurse Betty' is a sweet film that dares to go against the usual standards of American comedy. There are some very graphic scenes of violence and there's the element of suspense as the father and son track down Betty. Yet, it manages to stand as an adventurous comedy that is uplifting and brings a smile.

Nurse Betty is really an interesting movie. I guess we all know someone who is so convinced that the characters in a soap opera are real, that you can't explain them with any means that these are just actors and not real persons.

'Nurse Betty' isn't a nurse at all. In real life she is an ordinary housewife who works at a diner. To escape from her awful husband and the problems in her miserable life, she has become a very dedicated fan of a soap opera. After she witnessed her husband being murdered, she goes into some kind of a shock and she loses all grip on reality. She thinks she's in love with one of the characters from the soap opera, a doctor, and decides that she'll visit him and start a family with him. The hit men however think that she knows too much and go after her to kill her.

As I already said, the subject is quite recognizable (if you leave the professional hit men and the murder out of it) and the movie was funny. The story was well directed and the actors did a fine job. It had everything I always want to see when watching a comedy. I give it a 7.5/10.