Acht Mann und ein Skandal

I especially enjoyed Studs Terkel and John Sayles as the two sportswriters, Fullerton and Lardner. They're very droll. They act as a kind of Greek chorus, making cynical wisecracks, keeping the audience clued in on what's supposed to be going on. As the White Sox play out yet another crooked game, Sayles said to Terkel, "Nothing but fast balls." "Nice, sloow ones," adds Terkel. It gets better. Terkel writes a column for the Chicago paper accusing gamblers of corrupting the game of baseball and Sayles is reading it aloud. "Writers are tainting the game," or something, says Sayles. "Keep reading," says Terkel. "The game would be better off without the long-nosed, thick-lipped Eastern element preying on our boys in the field." Terkels smiles around his cigar and says, "Makes you proud to be a sportswriter, doesn't it?"

The rest of the movie is pretty good too, although I sometimes get the characters and their motives a little mixed up. The baseball scenes are very well done. I say this, being no big fan of the sport myself. Charlie Sheen (a true aficionado) looks like he's heaving a heavy bat as he clunks out a hit, not a rubber prop. I admired too the way the series games swung back and forth as the players on the take tried to figure out if they were playing for the money or for themselves. It's tough to throw a game because part of one's self always wants to do what one does best -- in this case, play baseball well. The German ethologists call it "Funktionslust." In the end, despite some indecision, they do however lose.

The movie isn't kind to the gamblers or to the owners. Comisky was incredibly cheap and greedy. The script gives this as one of the reasons why the players agreed to throw the game. As Strathairn says when someone offers him a part payment, "I don't care about the money." He's throwing the games to foul up Comisky who has just denied him a promised bonus because Strathairn, playing the pitcher Cicotte, has only played 29 games instead of the 30 they'd agreed upon. Comisky has made him sit on the bench for the last few games so he wouldn't cross the bonus threshold. (Question: Given that Comisky cheated Cicotte of the contracted bonus, was Cicotte morally justified in throwing the games?)

The movie isn't nice to the gamblers either. Not only don't they pay off but they treat the players with contempt. Arnold Rothstein ("A.R.") treats EVERYBODY rudely. He never says hello when he enters a room, never says good-bye when leaving, and never smiles.

I kind of liked this. Sayles may not be a master but his films are always highly individualized. I cannot visualize him directing "Die Hard With A Sardonic Grin."

This was a much more difficult Joe Jackson story to tell than `Field of Dreams.'

Sports movies are never easy to do and making one that reaches beyond the bounds of sports fans is especially challenging. While `Eight Men Out' may not quite grab the non-sports enthusiast as well as `Field of Dreams,' `Hoosiers' or `A League of Their Own,' (my own nominations for the three best sports-related movies of all-time), it DOES more than hold its own among the top third of the ever-growing list of baseball movies.

This is largely because it is not really a BASEBALL movie. Like the aforementioned films, it is a movie about people who happen to PLAY baseball. Based on the Eliot Asinof novel, the movie is, by and large, historically accurate. It also seems to be fairly even-handed in dishing out guilt. Yes, the players played for skinflint Charles `Old Roman' Comiskey, yes they were easy prey for the gambling element, yes they were lacking in education and common sense … yet they are not portrayed as innocent victims, either.

I have been a huge David Strathairn fan ever since `Eight Men Out.' His sensitive portrayal of star pitcher Eddie Cicotte was pivotal to the movie's success. Asinof correctly focused on Cicotte as the pivotal figure in the World Series fix. `Eddie's the key!' more than one character exclaimed. Other players, approached with the idea of throwing the series, reacted with shock when finding out the highly-respected Cicotte was involved. This was certainly no easy choice for Cicotte, a man of some integrity and conscience, but a pitcher nearing the end of his salad days and a man bitter at his mistreatment by Comiskey. Strathairn plays the intelligent, stressed character under the gun as well as any actor of his generation.

The rest of the cast is fine, too, with despicable Chick Gandil (Michael Rooker) and Swede Risberg (Don Harvey) playing the odds and pressuring teammates to go along. James Read is excellent as henpecked southern pitcher Claude `Lefty' Williams, probably the second most respected player on the team. Of course Buck Weaver (John Cusack) is a huge figure, considering the gamblers' pitch, then opting to pass when the money isn't immediately forthcoming.

The movie isn't shy about its version of good guys & bad guys. Gandil, Risberg & Swede's buddy Fred McMullin (Perry Lang) are the villains, while Williams, Weaver, Joe Jackson (D.B. Sweeney) and Manager Kid Gleason (John Mahoney) are victims. Hall of Famer Eddie Collins (Bill Irwin) and no-nonsense catcher (and controversial Hall of Famer) Ray Schalk (Gordon Clapp) are frustrated on-lookers, while Dickie Kerr (Jace Alexander) is the wide-eyed & naïve rookie. All turn in fine work and I find myself loving the taciturn Schalk, the kind of catcher every manager wants. Most interesting is the movie's portrayal of Shoeless Joe, who is interpreted as being mildly retarded, rather than just illiterate.

The baseball scenes are quite realistic, as are the ballpark backdrops. I first saw it the year after visiting Old Comiskey Park (the year before it was torn down) and felt right at home on the movie set – even the turnstiles looked authentic.

In closing, I can't honestly say that someone with NO knowledge or interest in baseball would flip over this film. Yet, one doesn't have to be a bleacher bum to enjoy it – and not knowing the outcome may actually make it MORE fun for the neophyte! Overall, a fine movie.

Although I generally agree with Roger Ebert's reviews, I just can't understand how he was annoyed enough with this movie to give it a measly two stars. He claims that there wasn't enough exposition. I found everything explained satisfactorily, even for the non-fan or baseball history buff. And it is period-piece film-making at its finest. I cannot imagine a better telling of this story. And the baseball action is excellent. One factual error, though: Bucky Weaver (John Cusack) would never mention Babe Ruth as better (or even comparable) to Cobb, Speaker and Wheat in 1919 or 1920. It shocks me that Sayles kept that line. USA Today heralded "Eight Men Out" as the greatest baseball movie ever, and though there is some fine company, I find it hard to disagree.

I've never been a fan of baseball. The only movies about baseball that could interest me were comedies ("Major league" , "Dullham bulls") . Until I've seen "Field of dreams" and this one. Then I realized that you could make a serious movie with baseball in it.

"Eight men out" is a story about corruption. The movie never takes any side , it allows us to choose our own interpretation of whole story. It seems that everyone here has some sins – the players , the club owners, the journalists and frauds.

The movie has cast full of stars – John Cusack ("Say anything"), Christopher Lloyd ("Back to the future") , Charlie Sheen (TV series "Two and half men") , Michael Rooker ("Cliffhanger") . It's entertaining even for someone who doesn't know a thing about baseball (like me). It's quite long movie (almost 2 hours) , yet never a moment is wasted . The atmosphere of the post - I world war America is top notch , especially the music .

A good movie worth a chance . Recommended for sports fans. I give it 7/10.

When the team that couldn't be beat threw the World Series in 1919 they did more than deliberately lose a few baseball games; they corrupted the National Pastime and ushered the sport out of its age of innocence. Writer director John Sayles succeeds in showing exactly how and why eight players on the best team in baseball set in motion what had to be one of the most poorly conceived, organized and executed conspiracies in the whole history of graft, and in his usual role as a champion of the working class portrays the guilty players as victims of money-grubbing corporate exploitation (represented both by team management and organized crime).

But it's all the cynical wheeling and dealing behind the Black Sox scandal which make the film so fascinating. The story might have been unbelievable if it wasn't entirely true, but like any aspect of real life the details are messy and inconclusive. Most of the film recounts the mechanics of the fix; events during the subsequent exposure and trial are telescoped too quickly into the final forty minutes or so, which makes sense: in any conspiracy the crime is always more interesting than the punishment.

It helps to be at least slightly familiar with the huge cast of characters involved: players, gamblers, reporters and so forth. A few scenes have been added for dramatic unity, and others were abbreviated to maintain a consistent pace, but all the facts are there, and Sayles manages to pull them all together in an entertaining history lesson from our collective adolescence, re-creating that fateful moment when the boys of summer grew up for good.