Million Dollar Baby Review
by Laura Clifford (laura AT reelingreviews DOT com)December 15th, 2004
MILLION DOLLAR BABY
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Boxing trainer Frank Dunn (Clint Eastwood) is one of the best in the business, but he and his Hit Pit Gym are showing signs of wear. Maggie Fitzgerald (Hilary Swank, "Boys Don't Cry") walks in wanting to be a fighter, but Frank outright refuses to train 'a girl.' Maggie shows promise, though, getting tips from gym custodian Scrap (Morgan Freeman, "Unforgiven"), one of Frank's ex-boxers and best friend. Frank witnesses Maggie being mishandled by a manager he suggested and can't help himself - he takes her on and turns her into a "Million Dollar Baby."
Clint Eastwood's graceful direction of this old-fashioned boxing flick reveals it for what it really is - a three-way character study that observes all the conflicting emotions that coexist with love. Eastwood the actor has never been better and Swank displays an aggressive physical transformation and athletic ability.
Frank is a man ridden by guilt over his estranged relationship with his daughter (his weekly letters come back stamped 'Return to Sender'). He goes to Mass almost daily, then delights in needling Father Horvak (Brian O'Byrne, "Intermission") over his faith's mysteries ('Can you spare a few minutes for the Immaculate Conception?'). Frank's background is provided by Scrap in voice-over narration and he shares many of Frank's philosophies. 'Show me a fighter that's nothing but heart and I'll show you a man waiting for a beating' is one of them, but ironically it is Frank's over-protectiveness and caution in entering his boxers in title fights that have cost him influence and a higher profile in the sport.
Frank doesn't just bear guilt over his daughter, but for Scrap, who lost an eye after insisting Frank continue to patch him up during a fight.
Maggie provides her own sketchy back story. At thirty-one, Frank tells her she's too old, but Maggie insists that boxing is the only thing that makes her feel good. She calls herself trash and gives a family litany that includes a brother in prison, a welfare cheating sister and a mother who weighs over 300 pounds. We don't know why she's set her sights on the resistant Frank, but in him she finds the father figure she misses while he knows taking her on could open him to the emotional pain he has experienced with his own child. Scrap plays Cupid and friend to both, a more loyal confessor than the priest.
Emmy award winning TV writer Paul Haggis adapts F.X. Toole's short story "Rope Burns" with grit, humor and heart. Frank's gruff sparring with Scrap is both funny and revelatory. Scrap's character is fleshed out by his subtle undercutting of Frank's gym management when he takes Maggie's well-earned dues in advance, knowing Frank will not relinquish her money, yet lets the mentally challenged Danger (Jay Baruchel, "The Rules of
Attraction") maintain an illusion of training for free. Maggie is determined, but not until Frank meets her opportunistic, unappreciative family (Margo Martindale, "The Human Stain," Riki Lindhome and Anthony Mackie, "She Hate Me"), do we understand the absolute void in her life that Frank has filled.
Eastwood lets his film build slowly, layering little character insights over what, at first, appears to be the Rockyesque tale of two emotionally needy people finding each other and 'filling holes' on their way to mutual success. A third act tragedy, however, turns the film back towards its earlier, amusing riffs on faith that now become serious, the definition of a man, a redemption. Eastwood's portrayal of Frank is very moving and Freeman has the perfect voice to tell Frank's story. Swank's character is not as well defined, but her chemistry with Eastwood is solid, her accent is believable and her fights scenes (no stunt doubles were used) are realistic (except, perhaps, for the character's propensity for first round knockouts).
The production, designed by eighty-nine year old Eastwood vet Henry Bumstead, has a downtrodden look perfect as the environs for its characters. Eastwood's simple guitar score is used sparingly and fits the mood.
"Million Dollar Baby" is the work of an American legend at the top of his form. If the film doesn't sucker punch you on first viewing, its humanity is sure to haunt for days afterward.
A-
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