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wanting almost to be romantic (like a fleeting though in both of their minds) but knowing it is deeper. But when she says "I ain't got no one but you, Frankie," there is an interesting dynamic that plays out on the screen.
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It was a necessary scene, we find out later, but you didn't realize it was a plot point scene until later. The best example I can give of the fullness of the characters was the scene in the car when she tells the story of the dog.
MILLION DOLLAR BABY DANGER MOVIE
It wasn't spelled out in the dialogue, but her eyes did it all the way through the movie (from beginning to the end, when her eyes were the only things that could do the talking). Swank gave Maggie, in my opinion a quiet depth. It was the film's sly way of saying that, in the real world, heart is great, but it isn't enough.Īnd I thought the only undeveloped part of Maggie's character was her family, which was cookie cutter white trash to the letter. Her utter determination was only bested by his utter determination. And I didn't view his function in the film as comic relief, but contrast to Maggie. He was the guy in class that everyone called a nerd but he never realized he was a nerd (unlike me, who ALWAYS realized he was a nerd).
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I haven't gotten around to writing about MDB yet, but I couldn't disagree with you more here, Chuck.įirst of all, I didn't read Danger as mentally retarded or anything like it. I'd like to write a longer, more reflective review later, but things are kind of crazy right now.īy the way, did anyone else out there find Morgan Freeman's voice-over to be unnecessary and overdone? I know there's a clear motivation for it at the end of the film, but in a few places, the voice-over seemed to be trying too hard or to be explaining too much. Million Dollar Baby is still a solid film, well worth seeing in the theaters, but not quite as good as the hype. Perhaps Million Dollar Baby just wasn't going to live up to the Oscar-fueled hype that I've been hearing for the last few weeks, but I simply found Maggie too undeveloped and many of the film's explorations of class, gender, and race (and how these categories relate) to be insufficiently explored (Cynthia offers an insightful reading of Eastwood's exploration of gender). The film also left the issue of race somewhat unexplored, other than a brief anecdote Eddie (Morgan Freeman) relates about his first meeting with Frankie in Mississippi. Hillary Swank's Maggie, the female boxer Frankie trains after losing his best male fighter, also seemed rooted in class stereotytpes (scrappy hillbilly with a heart of gold). I tend to have problems with using mentally challenged characters for comic relief and/or easy emotional payoffs, and although his character is relatively minor (the film could have done just fine without him), I think Danger serves precisely that function. Like Chris, I also found myself annoyed by the film's "dodgy class-regional politics," especially when it came to the portrayal of Danger, the mentally challenged Texan who hangs out at Frankie Dunn's (Clint Eastwood) gym. And the final shot (which I won't reveal) almost rescued the film for me. The film's cinematography (by Tom Stern) is impressive, his use of shadows adding to the grittiness of the story, and Dunn's gym effectively conveys his own sense of resignation as he reaches the end of his career. I certainly understand the film's appeal to the critics, many of whom have compared Eastwood's recent work to either the auteurist films of the 1970s or classical Hollywood. Like Chris, I was mildly underwhelmed by Million Dollar Baby ( IMDB). Quick reviews tonight as I'm still in the midst of my first grading marathon of the new year. | Guerrilla: The Taking of Patty Hearst » FebruMillion Dollar Baby