Cinderella Man

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Friends had warned me that much of the first part of this film was slow and they had made the same observation of Angela's Ashes. I disagree with them about both. In Cinderella Man (a phrase attributed to Damon Runyon), it is imperative that James Braddock's circumstances and those of his family are carefully, unhurriedly established to create an appropriate context for the process by which he resumed his career as a professional fighter in 1934 and then faced Max Baer on June 13th, 1935, in Long Island City, N.Y. Although a 10-1 underdog, Braddock won the heavyweight championship of the world. (The film takes us to this point.) He would lose his heavyweight title two years later in an 8 round KO to Joe Louis, "The Brown Bomber." Braddock retired after a final win over Tommy Farr in 1938.

Other reviewers have shared their own reasons for thinking so highly of this film. Here are mine. First, perhaps only in Raging Bull is the physicality of boxing so compellingly portrayed. Also, I admire the skills of those who recreated a period more than 70 years ago, one during which the Braddocks and millions of others struggled to overcome hunger and illness as well as poverty and especially terror and humiliation. Under Ron Howard's direction, the quality of acting is outstanding, notably Paul Giamatti as Braddock's manager and trainer, Joe Gould. (I still think that Giamatti should have at least been nominated for an Academy Award in recognition of his performance as Miles Raymond in Sideways.) With regard to Renée Zellweger (as Braddock's wife Mae) and Craig Bierko (as Max Baer) as well as Paddy Considine, Bruce McGill, Ron Canada, David Huband,�Linda Kash, and Nicholas Campbell, they had to work within quite specific limitations in their supporting roles. I thought they were all just fine.

Finally, I wish to single out Russell Crowe for special praise. Whatever his public persona may be, he demonstrates exceptional self-discipline as well as nuanced talent in the lead role of the courageous heavyweight champion boxer. Braddock fought for "milk," to be sure, but in doing so became a symbol of hope for other victims of the Great Depression. Crowe brilliantly portrays Braddock's fundamental decency and integrity as well as his total devotion to the welfare of his wife and their three children. To me, this is Crowe's finest performance thus far.

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