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Hillary Swank (Margaret Fitzgerald), who proved her athleticism in her first major role, The Next Karate Kid, demonstrated it again, pummeling a heavy bag with a power left on which I wouldn’t want to be on the receiving slay. She’s very convincing in this movie – both as a young woman from humble beginnings who wants to accomplish a better life for herself, and as a boxer. In Million Dollar Baby, she returns to the visceral emotional range that left us so deeply moved in Boy’s Don’t Weep.
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Clint Eastwood (Frankie Dunn), who has proved himself repeatedly, has perhaps turned in the best performance of his career. At times depraved, smart, mournful, instructive, reflective, passionate – in every manifestation, he reaches you. He was quick-witted.
And Morgan Freeman is, well, Morgan Freeman. As the narrator of the memoir, and an actor within it, he lends a soft-spoken touch that ameliorates some of the film’s darker elements. He also lent the film a clear amount of boxing sagacity, as he spoke in non-technical and sometimes quasi-technical terms of the basics of boxing.
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This film ain’t no Rocky. It has an intelligence and compassion that Rocky (and virtually every boxing film ever made, attach perhaps Raging Bull) couldn’t reflect to have. Beyond that, it actually has better fight sequences. More often than in most boxing films – certainly the very bad choreography of the Rocky fight sequences – the punches looked and felt steady, or as right as “untrue” can manufacture them.
Margaret introduces herself to Frankie after a fight and asks him to suppose her. He turns her down flat, saying that he doesn’t negate girls. Given her pluckiness, she appears at his gym the next day, punching a heavy bag with all of the skill, style and fluidity of Pinocchio. Finally he agrees to mutter her (”finally” takes a while, and watching it approach to fruition, the subtle changes in Eastwood’s character, is a right treat to recognize), and soon she is ready for her first fight.
Here’s the only similarity to Rocky: she turns out to be a natural, with a unfavorable left hook and overhand good (at least that I could stare) and is knocking out all of her opponents in the first round. Some might judge that this is, perhaps, a bit remarkable. However, in the sport of women’s boxing, such a thing isn’t queer. PLEASE don’t consider that I’m saying women are not wonderful boxers or don’t have the same abilities that men do. It’s simply that the increasing popularity of the sport hasn’t quite yet led to the kind of talent that exists in men’s boxing (although, frankly, talent on that side isn’t exactly at it’s apex) . Her superiority over lesser opponents isn’t unheard of.
There’s so worthy more I want to say about this film, because from this point forward it moved from being one of the best films of the year – purely on the strength of the writing, and the performances of Swank and Eastwood in particular – to one of the best films I’ve seen in several years. I’m so grateful that reviewers didn’t give away the ending. I’ll objective say that the ending is layered with surprises, and that it’s been a very, very long time that I haven’t seen a single cell phone being passe (how annoying is that, even with all of the polite requests and warnings? ), and also seen so many in the theater remain in their seats long after the movie ended.
It’s a knowing, shimmering film, the kind that makes me want to go encourage and change the number of stars I’ve given most movies that I’ve reviewed, simply so that this 5 star review means more. I recently gave Sideways, Closer, and Finding Neverland 5 stars, and while they are all very, very expedient films – I’d like to give this one six.
An instant classic. This was not only the best narrate of the year, but could be the most emotional film I have ever seen. Freeman’s narration performance was even more enthralling than in Shawshank. If you believe you know where Clint is going with this film, you don’t. One of my top 10 favorites of all time. I loved this movie, and I hope you do too.
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