Seabiscuit - Mit dem Willen zum Erfolg

After the American Depression, the millionaire Charles Howard (Jeff Bridges) gets married again with Marcela (Elizabeth Banks) and decides to invest in a race horse. He gathers the old couch Tom Smith (Chris Cooper), the problematic jockey Red Pollard (Tobey Maguire) and the horse Seabiscuit, all of them losers, and he believes on them, giving a second chance to them. Seabiscuit becomes a winner and legend in a difficult period of the American life. "Seabiscuit" is a beautiful film with positive and wonderful messages. Charles Howard has the best lines, such as: "When the little guy doesn't know that he is little, he is capable of big things"; or, "Sometimes all somebody needs is a second chance". The excellent and underrated actor Chris Cooper has probably his best performance along his career. Although having 141 minutes running time, the viewer does not feel time passing. I particularly liked not only the direction, performances, locations and reconstitution of a period, but mainly the never corny and very positive messages in the excellent lines and screenplay. My vote is eight.

Title (Brazil): "Seabiscuit – Alma de Herói" ("Seabiscuit – Soul of Hero")

As the depression era kicks in, Americans were grasping for any sort of inspiration they could get, enter equine supreme, Seabiscuit. Considered broken down, too small and untrainable, Seabiscuit went on to become a bastion of great racehorses and in the process bringing solace to those closest to it.

Back in 2003 upon its initial release, critics were very divided as to the merits of Seabiscuit as a picture. Some were concerned that this adaptation from Laura Hillenbrand's highly thought of novel missed too many crucial elements, others were merely touting the tired old charge of the film purely baiting Oscar (something that is levelled at every film in history about hope and second chances), the more astute critics of the time however lauded it as the delightful and inspiring piece that it is.

It would be churlish of me to not agree that Seabiscuit is laced with sentiment, rookie director Gary Ross barely wastes a chance to tug the heart strings and paint an evocative sequence, but if you have got it in you to accept this true story for its base emotional point, then it is one hell of a wonderful experience. Seabiscuit is not just about the equine beauty of the picture, it's also a fusion of three men's personal wavering, who for one reason or another need the horse for far more important crutches than those provided by financial gain, make no bones about it, Seabiscuit is a very human drama. Knowing how the picture will end never once becomes a problem, because the historical accuracy in the story makes one yearn for that grandiose ending, one to gladden the heart in the way it must have done to thousands upon thousands of Americans back in the depression era day.

Ross wisely chooses to filter in as much realism as he possibly can, archive stills and narration serve as exceptional points of worth to the narrative structure. Then there is the first rate cast to fully form the emotional complexities that Seabiscuit provides. Jeff Bridges, Tobey Maguire (waif like), Chris Cooper, Elizabeth Banks, top American jockey Gary Stevens and a splendidly jaunty William H Macy, all can rightly feel proud of their respective work on this picture. Yet it's with the thundering race sequences that Seabiscuit really triumphs best, magnificent beasts hurtling around the race track are excellently handled by Ross and his cinematographer, John Schwartzman, whilst a nod of approval must go to the sound department's efforts, for this is definitely one to give your sub-woofer a work out.

Seabiscuit was nominated for seven Academy Awards, winning none, perhaps the Academy also felt like those critics who thought it was trying too hard for a Golden Statue? But now after the dust has settled some years later, it pays to revisit Seabiscuit and judge it on its own emotional terms, for it's a tremendously well crafted picture that is of course as inspirational as it most assuredly is tender, a fine fine picture indeed. 9/10

The film is set in the 30s , economical crisis time , the 29 crack and the ¨Great Depression¨ . A lot of people have got starvation and distresses , although with President Franklyn D. Roosevelt and his ¨New Deal¨ America will retrieve its splendor . This is a story of rich and pauper people . It's a fable of hits and flops . The movie centers on a horse and a good rider (Toby McGuire) , the trainer (Chris Cooper) , the owner (Jeff Bridges) and his wife(Elizabeth Banks) and a journalist (Willian H. Macy). The movie is based on real events and there are various flashbacks developing the historical deeds .

In the motion picture there are humans emotions , drama , tearjerker and several horse races . Runtime film is overlong , two hours and some and though the picture is slow-moving , isn't boring , neither tiring . The final duel between two contender horses is overwhelming and exciting . War Admiral was played by one of his descendants, a gelding named Verboom . While the movie describes War Admiral as being a huge horse close to eighteen hands tall, the real-life War Admiral was well known for being one of the smallest sons of Man o' War . War Admiral was actually the same size as Seabiscuit , which was approximately fifteen hands tall . The flick is apt for everybody , because there isn't violence , nor murders , but agreeable feelings . The movie had nomination various Oscars but didn't get Academy Awards and attained a moderated success , though didn't failed at box office . Interpretation by Toby McGuire is cool , Chris Cooper is excellent, as always , and Jeff Bridges is nice . Randy Newman musical score is riveting , likeness to Jason Swartzman cinematography that is fascinating , too . THe picture was well directed by Gary Ross . Rating : 7,5/10 . Very Good , well worth watching . Better tan average .

I have not read the book or anything about the story this movie was based on - I might have to now since I enjoyed the movie so much. The point of my writing this is to say: if you haven't read the book, you will probably like this movie. I'm sure the book portrayed so much more, but I don't think you can directly compare movies and books. In most cases, I have never loved a movie as much as a book - but that doesn't mean the movie should be disregarded. In some cases emotion can be better portrayed on film. (please note that all my "quotes" are paraphrased from what i remember and only set aside in " " to distinguish it from my writing).

That said, I completely disagree with the first reviewer above who did read the book first. I really DID get the message about what Seabiscuit represented at that time: a second chance, rising above expectations against all odds, and most of all - HOPE. When I told someone I just saw Seabiscuit, they said, "oh, that's about the horse, right?" and I said, "no, it's really a story of hope and rising above tough circumstances - but there is a horse in it." I was surprised at how much history and how many images of the depression were gracefully woven into Seabiscuit. I thought it worked very well and added to the realism of the film.

I also definitely understood that Red Pollard's family was wealthy, and that they lost everything in the depression. It's pretty obvious - the whole family is shown around a great big dinner table in a very nice house; his father even buys him his own horse. Next time you see them, they are basically living out of their car with a whole bunch of other folks doing the same - a kind of depression era makeshift camp.

It's also made clear later on in the movie that he never saw his family again - there are auditory flashbacks to his parents saying they will call him; how he almost dumps all his books into the water; the fact that next time we see him he's a young man and there's no mention of his family ever again in the movie. Seems like they just disappeared - and they did. Red also displays anger and frustration that is noticed by other characters. To me, this points to a sense of abandonment by his family.

Also unlike the other reviewer, I DID care a lot about the race with War Admiral - in fact, i almost had to just skip to the end first because I was so nervous about it! This was NOT just a story of profit. In fact, it never seemed like that was Howard's goal at all - his goal was to prove that the underdog can and will win - to prove that heart and spirit mattered as much as (or even more than) wealth and breeding. That seemed to be the point of the match race with War Admiral.

This is a story of rising above profit to reach an even greater goal. It's an uplifting story, as you can see in the crowd's faces as Howard tells them, "just because he's beaten down by a nose, doesn't mean he's out." and "When the little guy doesn't know he's the little guy, he can do great big things." You can picture the men and women, unemployed and hungry, telling themselves these same words. Things will get better; we may be down, but we're not out. In the words of Tom Smith, "You can't throw a whole life away, just because it's banged up a bit." Red's words at the end are touching as well, "seabiscuit fixed us, and in a sense we fixed each other.'" Red overcame his anger, his fear, his sense of hopelessness. So did Seabiscuit. And if they can, so can you.

A fabulous movie! It offers credibility to the old saying that 'if there's a will, there's a way.' It's a great reminder that there had been people - of yesteryears - who had been brave and courageous to accept the underdogs with heartfelt benevolence.

As a film, revolving around the inspiring story of Seabiscuit, it works well. It connects the cultural icon with the life paths of three men of different social standings, leading me through a mixed journey of tragedies and jubilation, risks, disappointments and exuberance. It shows how these men and beast overcome incredible odds to achieve their goals. The bonding of the quartet is wonderfully captured in this film. Watching the horse transformed into a winner is as aesthetically beautiful as seeing 'Cinderella' transformed into a beauty by her three 'fairy godmothers.' This film has a compelling story that salutes the American dream.

This adaptation of Laura Hillenbrand's book, unfortunately, does omit a great deal of the interesting biographical accounts of the trio's lives and the historical impressions of the nation's era between 1903-1940. But Director Gary Ross (watch out for his cameo appearance) does provide sufficient background to the lives of Charles Howard, Jim Smith and Red Pollard to justify how the trio becomes ultimately involved with the life of Seabiscuit. The small spirited bay is first introduced as a colt, and Red as a young kid, both ultimately separated from their parents, and both subjecting the viewers never to forget their crooked legs and their predisposition for indolence! Strangely, the film does show many similarities, in traits and circumstances, between Seabiscuit and Red. Jeff Bridges, Chris Cooper and Toby Maguire are impressive in their roles. They are convincing sources to what is meant by perseverance and triumph. William H. Macy does 'tick-tock' through several scenes to provide the comic relief.

The film is filled with dramatically charming appeal and beauty, yet it has not failed to expose the brutality of horseracing. even if Seabiscuit's glory had distracted millions away from the political, social and economic woes of their times. The visuals for the story's historical era are wonderfully detailed, creating a sense of realism to the period, the characters and events. The choice of Randy Newman's music scores helps build up the viewers' emotions especially in the race scenes.

Seabiscuit is a winner!

A-