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As Darcy McGuire, the professional hired to lead the ad agency for whom Nick works into the Twenty-first Century, Hunt is nothing less than sensational.
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On the other hand, the real saving grace of this movie is immediately discernible, and that is the performance of the wonderful Helen Hunt. It's only when you've had a chance to consider Gibson's performance at arm's length that you will realize how good he is in this film. It's a testimony to his ability as an actor, though, because he does make Nick the epitome of chauvinism, and except for the few throw-back Neanderthals (women as well as men) still in existence who subscribe to the `Man's man' theory of de-evolution, Nick will effect the same response from the audience that he does in the minds of many of the women who surround him in the movie. Mel Gibson does a good job of getting into Nick Marshall's skin, and he's to be commended for going out on a limb and taking on a character that may not be immediately embraced by even die-hard Gibson fans. It's as if not only Nick, but Meyers as well, had heeded Bette's advice. The turning point comes after Nick's visit to a marriage counselor (a terrific cameo by Bette Midler) with whom he had had business some years before.
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But just about at the point when you're saying to yourself, `All right I get it!' Meyers grabs the helm with both hands and suddenly the ship is at full mast and on course, where she keeps it for the rest of the journey. And while it is clever and effective, closer scrutiny in the editing room may have benefited the overall film, as his character is somewhat `overly' established. The screenplay, written by Cathy Yuspa and Josh Goldsmith, is extremely insightful and brought to the screen with equal acuity by director Meyers, who goes to great lengths at the beginning of the film to explain Nick's exaggerated chauvinism, what made him the `Man's man' he has become. It's something of a contemporary take on `A Christmas Carol,' with Nick an egotistical, self-centered, witty (In his own eyes) Scrooge a veritable legend in his own mind, which is not- as he comes to find out- necessarily the way he is perceived by many of those around him, especially the women in his professional life. In fact, once most of the `cute' stuff is out of the way (about a third of the way through), the film really starts to get good,with a message about decency that is worthwhile, if only it can penetrate the formidable barrier of the viewer with an attention span barely able to accommodate an episode of `Friends.' Beyond the humor, there is a story here about a man named Nick Marshall (Mel Gibson) who literally receives the shock of his life, and afterwards must deal with who he is by coming to terms with his past, realizing the truth about himself in the present, and understanding what his future will be if he does not change his ways. Enough to definitely raise it far above the `fluff' piece many will perceive it to be, if only due to some shallow reviews and the theatrical trailer currently being shown, which gives only the vaguest notion of what this movie is really all about.
Because- while there are plenty of laughs to be had (especially early on)- in the end, there is a lot more bite and substance to it than first meets the eye. Here is a movie that, to be sure, is part fantasy, part wacky comedy but to call `What Women Want,' directed by Nancy Meyers, `just' a comedy would be not only inaccurate, but would be doing an injustice to the film as well.
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