Cinderella
Man is a heartrending slice of depression-era Americana, that while admittedly
melodramatic at times, manages to win you over nonetheless. It certainly bears
much in common with 2003's "underdog-beats-the-odds and inspires a beleaguered
nation” winner Seabiscuit, but that’s hardly a complaint. The overriding
theme of both pictures is remarkably similar, both are based on true stories and
play on the beaten-down protagonist as symbolic embodiment of the hope of a dispirited
nation. And both are rousing examples of how films of this kind, when executed
with skill and expertly acted, can work like magic.
So
here we have this manipulative, completely predictable film and yet, other than
Crash, it’s the first legitimate Oscar contender of the year. Much of the
credit belongs to director Ron Howard, who knows what he’s doing here every
step of the way. He plays this true story like a maestro, sets the audience up
and then delivers the goods. People in the audience at the screening I attended
were moved to applause, and tissues were being handed around to men and women
alike - not something you often see in this day of jaded movie-goers. I would
put Cinderella Man right up there with Apollo 13 among his finest films. True
Howard teamed with Crowe for the Oscar winning A Beautiful Mind, but that film
was somewhat over-rated and pales in comparison to Cinderella Man.
Again
like Seabiscuit, rarely have true stories so perfectly lent themselves to Hollywood
productions. The film opens with Braddock climbing the Heavyweight ranks - though
modest in his increasing wealth, right away we see the contrast of his lifestyle
before and after the onset of the depression. Ironically Braddock had wisely invested
his earnings in the market and a taxi company, both of which are literally wiped
away overnight. Determined to fight his way through the economic trials of the
time, he is soon beset by crippling injuries to the point where the Fight Commission
revokes his license. Howard does a good job of portraying the hardships Braddock
encounters merely trying to keep his wife and children adequately sheltered and
fed, and it is quite touching the humiliation that Braddock must bow to just to
keep his children from being farmed out to relatives who are better off.
As
his tough, but loving and supportive wife, Renee Zellweger turns in yet another
impressive performance - managing a convincing Jersey Girl accent, and remaining
strong even in the face of the most dire of circumstances. Compared to her stunning
performances over the past few years, her turn here is more adequate than anything,
but she is allowed two or three scenes to really do her thing. Russell Crowe has
made an art out of imbuing the ordinary man with nobility and dignity, and his
Braddock is a clinic in understated perfection. Supporting him in his cause is
always brilliant Paul Giamatti. It will be difficult for the academy to ignore
him two years in a row. As Braddock’s manager, his portrayal is the perfect
mix of professional smarts and heartfelt humanity. Two scenes in particular where
Giamatti gets to demonstrate his considerable acting chops include a sequence
where he has come to share with Braddock the news of a big-purse fight that he
has managed to finagle his fighter, and another where we learn of the great sacrifices
he has made to finance Braddock’s comeback.
In
a star-making turn Craig Bierko (as Heavyweight Champion Max Baer) does a wonderful
job of giving Braddock the perfect nefarious opponent. His cocky, womanizing (Hollywood)
villain is pitch perfect - while hating him with a passion and wanting to see
him beaten to a pulp, you still understand him, and are awed by his domination
in the ring. The one black-eye that has popped up to compromise Howard’s
masterpiece is a controversy involving the two men whom Baer accidentally killed
in the ring. Baer’s ancestors have protested the way he is being portrayed,
claiming that the film is slanted to make it appear as if Baer was ambivalent
about these actual tragedies in the ring. They claim that the man was, in truth,
haunted by these deaths and that he was plagued by nightmares throughout the rest
of his life.
This
contention is understandable from their viewpoint, but I felt that Baer was shown
to demonstrate concern. Though subtle, there were scenes where he expressed trepidations
about fighting contenders who he felt might be in danger, including Braddock.
Still he was painted as something of a monster, which of course serves the plot
of the film well, but might have been shaded unfairly. I’m sure we’ll
learn more about this issue in the months to come.
In
any case, Cinderella Man is a wonderfully powerful film, the fight sequences are
as visceral and realistic as any I’ve seen on film. Credit Crowe who looks
and plays the part so convincingly it’s as if he stepped out of the pages
of an old issue of Ring magazine. I’d have to say the smart money will be
on Crowe come award time, his physicality and fighting skills coupled with his
modestly understated performance are sure to be remembered toward the end of the
year. In spite of it’s occasional maudlin tendencies, Cinderella Man is hands
down the feel good triumph of the year, it is in every respect a technical knock
out.
