In this intense and emotional tale of compassion, rescue and love, director Mike Figgis portrays the antithesis of the Richard Gere he had shown us three years before Mr. Jones' release: A needy, fragile, unstable yet creative and fascinating character versus the sinister, cold-blooded and self-confident officer Dennis Peck in Internal Affairs.

Gere's ability to absorb the script and bring it to life through his inimitable histrionic demeanor has once again amazed me, bringing me into the scene as if I were observing from behind the camera. Another example of a woman assisting a man throughout his struggle is Figgis' Leavign Las Vegas, where Elizabeth Shue chooses to be by Nicholas Cages' side, with the exception of a very sad ending (In this case we had pills instead of bottles). From Final Analysis, Gear switches into the patient's role, making us hold our breath and, needless to say, get a good use out of our handkerchiefs.

With a burst of pop-rock music and Richard Gere peddling happily away on his bicycle down city streets, "Mr. Jones" deceptively begins as an upbeat character study (in fact, "Flashdance...What a Feelin'" would not be out of place here). Too bad then it's just a sunny preamble to the meat and potatoes of the story: a bipolar depressive acts recklessly until he is finally institutionalized. There's a lady psychiatrist who is drawn to him (she's emotionally vulnerable due to a recent break-up),a sassy bank teller who is introduced for no other purpose than to give Richard a pretty date, a trip to a piano store where Gere tickles the ivories...but what is "Mr. Jones" about, at its core? Not even director Mike Figgis appears to know, following manic Gere randomly around town and then to a friend's house for dinner (where all the polite, happy children bow their heads in thankfulness). This is not an exercise in catharsis; Figgis wants to earn points with us through little acts of humility and false emotion--not hard-hitting realism. He doesn't have anything to gain with this picture, not even dramatically once Gere hits the wall and realizes he needs medical help. No one speaks of the financial obligations the central character is under by getting so much hands-on treatment and medication, while father-of-seven Delroy Lindo thinks nothing of slipping Gere some friendly cash (with all those hungry kids at home, one might think Gere should at least refuse the money on principle and not out of pride). Gere (also one of the producers) is up to the challenge of portraying a manic-depressive with euphoric highs and suicidal lows, but the movie tips its hand early on that wild, spontaneous behavior is healthy for the soul. It helps get you jobs, it helps make you friends! It's the same thinking which made "A Thousand Clowns" into an unbearable hit. ** from ****

I think this movie would give a lot for bipolar sufferers like Richard Gere's character. It is quite tough to have a disorder like that taking over your life and feel that you aren't the same as everyone else. It's like 'Rainman' gives people with autism in realising that just because you have a disability, it doesn't mean you are a lunatic, you are a human like everyone else in this world. It is the same with this movie. At least nowadays, people can be able to get jobs or go to college and not go into institutions. Back then was all full of ignorance, now is looking to the future.

I honestly like this film and the romance involving a doctor & a 'patient' makes you feel really upbeat by the way it involves love and comfort to regardless of who you are inside. I think that's what people with disabilities or disorders should realise that there will be love right there for ya if you want to. I feel this movie gives a strong message for every human being on this earth!