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Million Dollar Baby 2004 |
Review by Jonathan Cornwell |
Directed by Clint Eastwood
R, 137 min. (violence, disturbing images, language) |
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Starring: Clint Eastwood, Hilary Swank, Morgan Freeman
Producers: Clint Eastwood, Paul Haggis, Tom Rosenberg, Albert S. Ruddy
Screenplay: Paul Haggis
Cinematography: Tom Stern
Distributor: Warner Brothers
Released: 12.15.04 (Limited), 1.07.04 (Wide) |
Rating:
 (out of ) |
 
"Are you going to leave me?"-- "Never."
Clint Eastwood is in the middle of a renaissance in the twilight of his career, as evidenced by last year's riveting Mystic River
and now Million Dollar Baby, an utter masterpiece that is the crowning achievement of a lifetime in front of and behind the camera. It can be argued that Eastwood's
career as a director has been far superior to anything he's done as an actor, even though his famous characters (Dirty Harry, etc.) will always overshadow his skills as a
filmmaker. Easily the year's best film, Million Dollar Baby follows in the footsteps of another Eastwood masterpiece, Unforgiven (1992), in which characters are at the center of
a seemingly ordinary genre piece, resonating with a world weariness that harkens back to the burgeoning cinema of the '20s and '30s. This film echoes the gritty, honest relationships
that emerge from characters that are not created but rather exist as if they've always been there. The screenplay, adapted from stories by F.X. Toole by Paul Haggis, is
a near flawless example of writing for the characters rather than a well-worn, generic storyline. And in the very capable hands of Eastwood, Baby patiently reveals itself
as a searing, heartbreaking tale of people who find fulfillment in a bittersweet ride to redemption.
Eastwood, Hilary Swank, and Morgan Freeman have given us the rarest of motion picture gifts - authentic characters that become more than just pawns on a chessboard, but
real people who yearn for forgiveness, respect, and self-realization, respectively. Eastwood has fashioned a film that unfolds naturally, without a hint of artifice or forced
manipulation; these people tell their story through the simple everyday mannerisms of survival in a heartless world. That boxing is the strand that connects them isn't so
much important as the fact that without it there would be no sense of purpose for those involved in the seedy underworld of a neglected sport. These talented actors
have transcended storytelling, attaching themselves to the viewer's ever-involved state of mind, which allows a conclusion so emotionally powerful that it's nearly unbearable
to watch. I don't know if I've ever been affected by a film so deeply as Million Dollar Baby.
Eastwood plays Frankie, a hardened boxing trainer who owns a ratty gym in the backstreets of Los Angeles. His best friend, Scrap (Freeman), manages the gym while
offering short conversations of varying solace for life's hardships. Enter Maggie Fitzgerald (Swank), a 31-year old woman who has only just gotten serious about boxing
professionally. She is a self-confessed hillbilly from Missouri, knowing in her heart, as Scrap tells it (Freeman narrates the story), "She grew up knowing one thing. She was trash."
She hangs around the gym even after being rejected by Frankie to train her, but Scrap befriends her because he sees something inside her that might be a champion. Slowly
Frankie, who has recently lost his prized fighter to another manager, sees the determination and grit in Maggie, and finally agrees to train her. Her quick rise to contender status
is no surprise to her because she fights out of desperation for a better life, which has been mired in waiting tables for a measly living. Soon Frankie and Maggie have formed
a deep bond, a friendship that will eventually face the ultimate test.
Frankie, who reads Yeats and still lives life through a series of endless regrets, attends mass every day in search of release from the burden of an estranged daughter and
a mistake that cost Scrap his right eye (which Freeman recounts in a haunting scene with Swank at a local bar). His daily bantering with a Catholic priest cries out for
forgiveness, but it's only through his newfound relationship with Maggie (who obviously becomes like another daughter to him) that he will find peace. For Maggie, her
lazy, self-involved mother and family only laugh at her aspirations and are ungrateful after she buys them a house to make a better life for themselves. "You're all I've got,"
Maggie tells Frankie in another memorable scene in the darkness of their car as shadows outline their faces. "Well you've got me," says Frankie. Her fierce, determined
spirit is the tonic for Frankie's eroding soul, and the film's neverending spiral towards fate strengthens their relationship even more.
Scrap is always in the background, but not unseen. He is the consoler and counselor for both Frankie and Maggie, speaking words of faith and wisdom into lives that have
been battered and bruised. Eastwood uses Freeman's authoritative voice as the viewer's guide through the stickier moments of the screenplay, and his performance is akin
to his turn in another masterwork, The Shawshank Redemption. Freeman is an observer of others, watching and explaining lives that seemed haunted and
implacably distraught. He worked with Eastwood in Unforgiven as well, and has found a place that fits like a glove; these seasoned veterans are a delight to watch.
Million Dollar Baby is one of the darkest films I've encountered in terms of lighting and set design. There is a shroud of cynicism and foreshadowing that is palpable.
Cinematographer Tom Stern has utilized every aspect of shadow and detail to emphasize the uncertainty that surrounds the characters. He has teamed with Eastwood to
produce a distinct dichotomy of light and darkness that reveals the state of mind of the evolving narrative. It is ironic that Frankie's brief respite from the shadows comes
at a high price.
There are so many small miracles within the film that it is a study of a master filmmaker at his peak. Consider the multiple scenes of quiet reflection and everyday conversation,
which espouse the impact of simple storytelling. These scenes range from Frankie and Scrap arguing over old socks to Frankie and Maggie merely gazing at each other in
the final moments of the film; yet each one has such patience and persistence that it's impossible to resist its gradual power. Eastwood has found the perfect balance between
soliloquy and affection, and as a result there are moments of pure genius on display. And the finishing touches are produced by Eastwood's own simple but stirring score, which
becomes a lifeline for the viewer in the closing moments as a reminder of the best moments of the Frankie/Maggie relationship.
Of course, nothing can prepare the viewer for the devastating final act, which I dare not reveal but packs such a punch that it's hard to believe that Eastwood could do this
to his characters. It's akin to building a beautiful glass house beneath a potential rock slide. Similarities will instantly be drawn to another current film, The Sea Inside,
but the unexpected nature of the subject matter here makes it more jolting, more resonant. It deals with an ever-present issue, one that divides people on both religious and
moral grounds. But Eastwood handles this delicate issue with such grace and passionate contemplation that it becomes just another layer of mastery upon a foundation of
perfection.
The performances are nothing short of astonishing. Eastwood, Swank, and Freeman all give measured, powerful efforts. It's not out of the realm of possibility that all three
could not only be nominated for Oscars but win them - this is such intricate work. Eastwood gives an emotional, simmering performance that plays perfectly against
Swank's determined work - it's one of his best roles. Freeman is equally efficient and calculated, playing off each character with a unique response. But in the end this is Swank's picture, and she
gives the performance of her career, yes, better than her turn in Boys Don't Cry, and she's almost a lock for another Oscar. She creates such a joyous, sincere character
that watching the final act of the film seems like Shakespeare. The culmination of actors at the top of their game is what imbues the movie with unflinching honesty.
With Million Dollar Baby, it's time to recognize Eastwood as one of the cinema's greatest directors; three of his last ten films have been among the best ever made,
as the mild optimism of his early films have given way to the increasing solemnity and self-discovery that mark his latest projects. It's only fitting that as most Hollywood films
revel in obnoxious, special effects laden tripe, Eastwood has narrowed his focus so intensely that only a few characters take center stage. After all, isn't that what truly
memorable motion pictures do? Characters that become meaningful are worth more than any summer blockbuster with no heart. It's why we go to the movies and why
Million Dollar Baby is one of the best pictures I've ever seen.
© 2004 Jonathan Cornwell
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 |
 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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