Million Dollar Baby

Saw "Million Dollar Baby" in Manhattan last night. Clint Eastwood, one of the all-time most famous actors -- and directors -- has more than enough money where he could choose to pull the strings on block-buster, mindless action pictures, ala Jerry Bruckheimer, or comic books. Or, hell, in his twilight years he could just lay back and enjoy his millions. But no. He has chosen instead to make quieter, lower-budget, heart-felt, character driven films like "The Unforgiven" "True Crime" "Mystic River" and now Million Dollar Baby. And the world is a better place for it. Eastwood uses his multiple talents to make films that have something valuable to say. In the emotionally powerful, Million Dollar Baby, he tells an allegorical tale of boxing to subtly express themes of hope, redemption, sacrifice, persistence, and belief in one's self. The movie emphasizes that failure is a more honorable and personally fulfilling trait than never having tried, while also frowning upon laziness and leeching off others. But see the movie and judge for yourself. I personally consider great films as the ones where I leave the theater with a better understanding of human nature, or a desire to improve the world by even a little bit. Eastwood's latest more than succeeds on those counts.

Clint Eastwood is a legendary film personality. I am a great fan of his. As an actor, I had my reservations with him, but as a storyteller, I have truly inhaled him. 'Million Dollar Baby' is amongst his finest films, a superb film, that almost reaches a Landmark level!

About a hardened trainer/manager works with a determined woman in her attempt to establish herself as a boxer. 'Million Dollar Baby' begins with some humor, then it improves itself into becoming a motivational punch, but ends as a dry and depressing saga. I adored almost everything about the film, except the final 20-25 minutes. The culmination is very depressing. In fact, one just doesn't imagine it would have to end this way! But in all fairness, this one is a winner!

Eastwood's understanding to the subject is objective and that's biggest plus point. Tom Stern's Cinematography is splendid. Joel Cox's editing is razor-sharp.

In the acting department, Hilary Swank delivers a Knock-out performance. She is the life of the show. Morgan Freeman is wonderfully restrained. Eastwood's performance, is a pure of example, of apt multi-tasking. Jay Baruchel as Danger, is flawless. Anthony Mackie is his usual self. Brian F. O'Byrne is passable.

On the whole, the list of accolades this 2004 flick received is truly unprecedented. It's got a legendary tag. From this writer, Thumbs Up!

No words will do justice to this movie. Just watch.

I didn't view this film until today because I simply wasn't interested in women in boxing; however, I wish I'd seen it years ago! Hillary Swank can never make another film and this one would be her crowning glory. It takes you on a wild ride of emotions from the beginning and Clint Eastwood's curmudgeon self is part of it all. Naturally, the "voice of God" in Morgan Freeman is there to explain it all and give some meaning to what each of the characters fell. By now, everyone knows the ending but I still won't spoil it for late-comers to the film like myself. I do believe much has been made about it and it's unnecessary. Yes, you will be torn about what is morally right but you can certainly understand how Eastwood's and Swank's characters feel! Please see this film. You will understand pugilism more than ever before and you just might see some of your own self in the film! It is well worth the time!

Clint Eastwood is a man of faith. He is an artist who is confident and experienced enough to have a deep faith in the audience that he is trying to reach. He is also a master of omission, of the left-out detail/line, trusting in his gut that his audience is willing to participate in his films by exercising their imaginations; that they never want any aspect of the story to be 'dumbed-down' for ready consumption. In fact, his trust in the audience to use their own minds to fill in gaps is like a gift of part ownership in the film. "Million Dollar Baby" is a beautiful gift, and a masterpiece if film-making.

Eastwood plays Frankie Dunn, an elder boxing coach, manager, and expert 'cut man' who runs a gym and is learning Gaelic on the side. He's a nice enough guy, but he can't seem to shake the guilt from ghosts in his past (some we're in on, some not quite). His guilt/shame is a constant just beneath the surface and gives him something of a cold exterior, sometimes frozen. Yet, as played by Eastwood, you know Dunn's aware of his own plight, but just doesn't know how to melt the ice. Or more importantly, if he's deserving of such a meltdown.

Enter Maggie Fitzgerald (Swank). She's a thirty-something trailer trash woman from southwest Missouri. An unlikely hero for sure. But for my money, Maggie is this generation's Rocky. That may seem an easy, simplistic, and over-reaching comparison, but the parallels are deep, obvious and myriad. Like many people, Maggie's dream (being a professional boxer) is always just out of reach, yet she cannot give it up. She works as a waitress to make ends meet (or at least the ends are almost touching), but spends all her spare time training. Like Dunn, Maggie has her own ghosts haunting her, and through these ghosts they bond tighter than super glue. The heart and work (incalculably huge amounts) that Swank put into becoming Maggie are unnoticeable. It's a silly phrase but it's as if she was born to play this part. It fits like a glove. The real life parallel of her relationship to Eastwood no doubt played a part in her ability to connect with the character's relationship to Dunn. Yet this in no way diminishes her accomplishment. She is brilliant.

Morgan Freeman plays Dunn's right-hand man (Scrape) at the gym, and reprises a role similar to Red from "Shawshank Redemption". He also voices the omniscient narration to the story, a la Red. Like Dunn and Maggie, he's similarly bruised, but somehow less deeply. He's there when both of them need support and helps to bring them together. I can think of nobody acting in film today who can embody kindness and wisdom through friendship and support better than Freeman. He also serves to bring in another Eastwood trademark – 'Banter'. Even when themes are heavy, Eastwood's sense of humor is never entirely absent and he and Freeman have a good time with each other, as did Bacon and Fishburne in "Mystic River". These three characters together create a beautiful and true, albeit small, family unit Eastwood's lifelong themes and 'blurring of lines' are on full display: good vs. evil, right vs. wrong, the role of violence, redemption, guilt/shame over previous acts, even god and death. Never one for easy answers, his version of the truth lies in the shadows, quite literally. Cinematographer Tom Stern crafts characters in shadow, shifting in and out of light. There is a grey area between the light and the dark where something approaching truth lies waiting, and this is where Eastwood takes us, then leaves us there to ponder. "Million Dollar Baby" is a shadow play. As accomplished as "Unforgiven" and "Mystic River", yet even more personal, this film is a triumph of human storytelling. As Bacon's character says in "Mystic River", "…and the hits just keep on comin'."