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By
DEBORAH NICOL
Statistics were recently
reported on a game show where contestants are
asked to choose between unknown quantities of
money. Those that faired well in luck tended to be
more conservative and careful with their choices,
whereas those who could not get a break often bet
the bank. Few periods could better represent tough
luck than the Great Depression, and few stories
could better symbolize the battle of the
downtrodden than James J. Braddock's.
Before the Depression, boxer Braddock (Russell
Crowe) could not loose. Successful at home and in
the ring, he easily cared for his family. But with
too much invested in the stock market, his
winnings dissolved in the Crash of '29 and he and
many other families found themselves struggling to
afford food. His pugilistic career fizzled and he
begged for whatever manual work he could find.
Years after he sold his gloves, his faithful
trainer Joe Gould (a quirky yet genuine Paul
Giamatti) approached him with a one-time shot to
re-enter the ring – in a fight occurring the very
next day. The rest is history.
Crowe reteams with director Ron Howard ("A
Beautiful Mind") as the muscle-bound but
soft-hearted father of three and faithful husband.
The soul of the story rests not on unchecked anger
in the ring, but of a selfless desire to provide
for loved ones. When asked what he was fighting
for in his most important and most dangerous fight
against literal man killer Max Baer (Craig
Bierko), Braddock replies "Milk." At a time when
most hardworking people could only punch at
shadows, Braddock symbolized a fight against the
greater struggle, and Baer represented the showy
and oppressive that would provide no assistance.
At his side is his concerned but supportive wife,
in the form of Jersey-fied Renée Zellweger. These
two actors have an easy and comfortable chemistry,
and the strength of their love is believable.
Giamatti succeeds once again in providing an
earnest portrayal with all of his character's
foibles, while also finding the key to drawing the
audience to his likeability. As the
man-behind-the-man, Gould provides the nudge
Braddock needs to regain his confidence.
Though played out as a fairytale, realism must
present its ugly head in this true story.
Cinematographer Salvatore Totino ("The Missing,"
"Any Given Sunday") focuses on the grays that
engulf life in the city, and though the colors are
drab they are alive with the lifeblood of the
people. The fights are viewed from pain and
anguish, through the flash of a broken bone or the
dizziness of a concussion. The camera calculates
the next move of an opponent and becomes focused
when strategy is determined. Surrounding the power
of the story is music composed by reliable Thomas
Newman ("Angels in America," "American Beauty"),
who finds balance between light and curiously
simple piano tones and rich, full orchestral
chords which evolve from fearful to hopeful.
Howard has created another great American tale,
family-friendly and inspirational for generations
to come. The bad guys are selfish and the good
guys are hard-working. Yet this film is not so
saccharine as to need a douse of vinegar; it
merely tells a remarkable tale that is meant to be
told.
Extras for the film include three separate
commentaries from Howard and writers Akiva
Goldsman and Cliff Hollingsworth, and a narration
track for blind listeners. Also included are
deleted scenes with director commentary, a photo
gallery, and featurettes on the famous fight,
Crowe's physical preparation, Braddock's history
and influence, and the casting of the film. |
