Director Gus Van Sant (“My Own Private Idaho,” To Die For”) brings his independent and realistic style and sensibility to “Good Will Hunting,” a film written and acted by Matt Damon and Ben Affleck. It’s a marvelous inspirational and fulfilling-your-destiny picture on par with “Rudy.”

Damon plays Will Hunting, a young adult in his late teens who on the service seems like an ordinary blue-collar worker. He’s a janitor at Massachusetts Institute of Technology (M.I.T.). However, in actuality, he’s a genius on par with Einstein or Beethoven. He tries to hide this part of himself because he doesn’t want to be perceived as better than anyone, nor does he want to be utilized as a puppet for someone else’s agenda.

Hunting has been in and out of foster homes since he was a child, having been beaten among other things. He finds solace in his best friends: Chuckie Sullivan (Affleck), Morgan O'Mally (Casey Affleck, brother of Ben) and Billy McBride (Cole Hauser). They don’t treat him like anyone special; to them he’s just their “brother.”

One night, while cleaning the main hallway at M.I.T., Hunting solves an advanced Fourier system (a type mathematical problem) that’s on a chalkboard in the hall. It’s been left by Professor Gerald Lambeau (Stellan Skarsgård), who had previously said to his graduate students, “I’m hoping that one of you might prove it by the end of the semester. Now the person to do so will not only be in my good graces but also go on to fame and fortune by having their accomplishment recorded and their name printed in the auspicious M.I.T. Tech [paper/journal].”

Lambeau tries to find out which one of his students solved the problem, but when noone comes forth, Lambeau decides to put a more complex mathematical problem on the chalkboard, one that took two years to solve.

When Hunting comes to work one night and sees this even more complex problem, he attempts to once again solve it. But this time Lambeau spots him, thinking he’s defacing the chalkboard he tells him to stop. Hunting walks off before Lambeau can confront him. Lambeau is shocked to find out that this seemingly average janitor is much, much more, as he’s solved this even more complex Fourier system.

When Hunting is arrested for hitting a cop, it’s Lambeau that bails him out and makes a deal with the judge to watch over him. However, the catch is Hunting must solve complex problems with Lambeau, while seeing a shrink. He’ll do any problem given to him but refuses to see a shrink. When he’s forced to anyway, he makes life a living hell for each shrink that tries to get in his head.

Having run out of shrinks willing to deal with Hunting, Lambeau seeks the assistance of his long-time friend and community college Professor Sean Maguire (Robin Williams). Williams played a professor before in “Dead Poets Society.” However, this take has much more depth and vitality. Almost like his “Dead Poet’s Society” character, John Keating, has evolved. It’s really interesting comparing the two characters. It really shows how talented Williams is to have played a professor twice but still be able to handle each character differently.

The film works so well because of being grounded in the streets of Boston. This is effectively done with accurate accents and shooting on location. Also, the accompaniment of acoustic songs by Elliott Smith with Danny Elfman’s beautiful score really adds a somber tone to the picture. Elfman's score is also comparable to Jerry Goldsmith's score to "Rudy," not necessarily in execution but certainly in approach to similar material, with regards to the inspirational story that both films have. Finally, the standout performances of Damon and Williams really suck the audience into this world. Both actors have an immediate chemistry, a give and take between teacher and pupil, therapist and client, and finally “father” and “son.”

The ferocity of both Damon and Williams’ performance can be seen in a couple of amazingly well acted scenes. The first being when Hunting first meets Maguire. Hunting antagonizes and provokes Maguire into unleashing the rage within him. Hunting picks apart Maguire’s life like he knows him. But, he goes one step too far when he tries to make an analogy between Maguire’s life and a painting, which leads to Hunting disrespecting Maguire’s deceased wife.

“That’s it, isn’t it?” Hunting continues, “You married the wrong woman. What happened? What, did she leave you? Was she, you know—[Whistling] banging some other guy?” Maguire, grabbing Hunting’s neck and shoving him up against the book shelf, says, “If you ever disrespect my wife again, I will end you. I will fuckin’ end you. Got that, chief?

What’s mesmerizing is how authentic Damon’s expression his as his character’s life is threatened, as well as how after Maguire lets go of Hunting Williams makes his character shrivel up. He’s afraid of what he just did, instantly regretting letting that side of himself out.

The second amazing scene takes place at the two’s next meeting. Maguire meets Hunting at a park fountain. The camera beautifully stays on Maguire throughout the conversation. Maguire talks to Hunting about how he shouldn’t presume to know who people are or what they’re about just because he’s very knowledgeable and analytical. Also, part of the problem with Hunting is that he lacks experience. He may know a lot through reading but he’s too young to fully appreciate or understand certain things in life.

“Thought about what you said to me the other day. About my painting, says Maguire.” “Oh, replies Hunting.” “Stayed up half the night thinking about it, [and] something occurred to me.” Maguire continues, “I fell into a deep, peaceful sleep and haven’t thought about you since. You know what occurred to me?” “No, says Hunting.” “You’re just a kid. You don’t have the faintest idea what you’re talking about, says Maguire.” “Why, thank you, says Hunting.” “It’s all right. Continuing Williams says, “You’ve never been out of Boston.”

Maguire then goes on to giving examples of things he’s done and experienced but that Hunting hasn’t because he’s never been outside of Boston, learned about most everything from books.

Another reason why these two scenes work so well is Sant having cinematographer Jean Yves Escoffier linger on them. This makes the audience really settle in and feel the emotions the characters are going through.

It’s through Maguire and a girl named Skylar (Minnie Driver) that Hunting falls for that he begins to shed his armor and open up. By the end it’s safe to say that Hunting will confront the demons haunting him and will embrace who he is. While the film may seem formulaic, it’s anything but. The thing that’s a joy to watch is Huntings’ journey, as well as the people that shape who he is. It doesn’t really matter where he ends up, just how he gets there.