Million Dollar Baby - Cinemalogue

Frankie Dunn (Clint Eastwood) is the type of individual who goes to church, it seems, purely to push Father Horvak’s (Brian O’Byrne) buttons. That might be a comical observation, if we did not see scenes that establish the fact that Dunn’s religious devotion exists outside the church, as well. Instead, I think, Father Horvak understands, as illustrated by the way in which he delivers one of the best comeback lines I’ve ever heard (too funny to spoil), that this is simply what Dunn, a boxing trainer, does. Like any good coach would, his smug inquisitions keep Father Horvak sharp and on his toes.

Dunn’s meal ticket is Big Willie Little (Mike Colter). Little could go for a title fight, if only Dunn believed it and was willing to take the risk. That seems to be Frankie’s problem. He pushes only so far, and not far enough. What is it he fears so deeply? This the kind of film that bothers to explore that, among other complex aspects of human behavior.

After at least two years of being prepared for a title fight, and without support from Dunn, Little decides to drop Dunn for Mickey Mack–the man with the right connections. That leaves Dunn with two viable options. One is Shawrelle Berry (Anthony Mackie). If only his fists delivered as consistently as his mouth. The other is Danger Barch (Jay Baruchel)… Well, make that one option. I suspect, however, that there is a purpose in the grand scheme for everyone in this tightly knit filmâ€”even Danger.

Enter Maggie Fitzgerald (Hilary Swank). In paralllel with the earlier scenes of Dunn pestering Father Horvak, Maggie appears impossible to turn away. It’s not that Dunn doesn’t try. To the dismay of his friend, former protege and gym handyman, Eddie “Scrap-Iron” Dupris (Morgan Freeman), Dunn tries to discourage her from trying to wedge under his wing. Eventually, having little to lose, and, perhaps, succumbing to the realization that she may never leave him alone, Dunn agrees to train her.

Let me say that I do not follow boxing. It perplexes me that there is a sport that, for all intents and purposes, exists to match up two people to beat each others brains out… and yet, inexplicably, there are rules? However, this isn’t really a boxing film. Boxing is the backdrop against which a much greater, deeper character drama takes place. Yes, there are fight scenes… but they exist not as a means of delivering the instant gratification of glorified violence or the climactic payoff generally associated with competitive situations as depicted in conventional Hollywood films.

Bill Conti and John Williams take note: The fight scenes are directed, choreographed, acted and filmed with such skill that not a single note of musical bombast is required to falsely inflate the emotional intensity of the scenes. In fact, the near silent score serves the mood much better… Listen, and look, and you’ll see that the boxing match scenes exist in this movie to demonstrate Maggie’s extraordinary dedication to her trainer, and to her goal of becoming an exceptional boxer.

Maggie’s family is a case study in abject selfishness. After winning several fights, Maggie, in an act of forthright generosity, buys her mother a house. Her mother can only think to ask why Maggie didn’t give them money instead. Her family’s goal in life, it seems, is to do absolutely nothing and swindle the welfare system in the process. To them, owning an asset is an obstacle to a sustained existence below the poverty line, rather than a way out. I am certain this is not the first time an American family has looked at their situation in such a cockeyed manner. This scene sets up an emotional association with her family that becomes relevant later in the filmÃ¢â‚¬â€which I will refrain from discussing only because it would reveal a critical plot point.

Like Maggie, Frankie also has a broken family. He writes his daughter every week and dutifully files each letter as they, one by one, return unopened. Without the usual fanfare of an obligatory dialogue exposition to laboriously spell out Frankie’s adoption of Maggie as a surrogate daughter, the love Frankie has for Maggie unfolds before our eyes well before he is truly aware of it. Eventually, he sets aside everything else for her.

Million Dollar Baby appears to be, first, about a boxer overcoming the odds. Then, it appears to be about the relationships between the characters. Finally, it reveals itself as a film about how we, as human beings, choose to deal with adversityâ€”and behind every victory is a loss or sacrifice of some sort. Actually, the movie is about all of these things.

Michael Medved had recently criticized this film for its point of view. Did Medved actually see the movie, or is he simply pandering to what his Christian fundamentalist audience expects to hear him say? Deliberately or out of ignorance, Medved clearly did not bother to explore how the film approaches its real subject matter. Had he done so, he would see that the point is not about the subject of the film, but how the characters and their natures deal with it.

There is a difference between desperation and self-respect. Knowing the difference, Maggie follows Frankie’s own “Rule #1”: Always protect yourself. In Maggie’s mind, what is ultimately at stake, what this film is finally about, and what Frankie sacrifices all his own principles to protect, is her dignity.

Million Dollar Baby | Running Time: 2 hours 17 Minutes | Aspect Ratio: 2.35:1 | MPAA Rating: PG-13, for violence, some disturbing images and thematic material | Released by Warner Bros. Pictures