Seabiscuit Review
by Josh Gilchrist (joshgilch AT aol DOT com)July 28th, 2003
Josh Gilchrist's review of "Seabiscuit" * * * 1/2 out of * * * *
There are films considered Oscar bait released each summer. Four of the Best Picture winners since 1992 have been released during the summer months. Naturally when one of these films approach I'm conflicted with feelings of eagerness and cynicism. Really, films that are manufactured to win awards usually falls on their faces. Last summer, "Road To Perdition" promised to be some sort of extraordinary look into one dark man's soul, but then didn't have enough.
I doubt anyone can claim that director Gary Ross' "Seabiscuit" has no heart. Based on Laura Hillenbrand's nonfiction best seller, it's the epitome of manufactured cinema. The purpose is to get the water works going, something which is accomplished with me.
The audience is willing to concede to this onslaught of sentimentality only because it's the type of storytelling which could be found in cinemas before words like sequel and blue screen became part of our popular entertainment lexicon. This is an old-fashioned piece of work, unafraid to approach the type of romanticism which can rouse an audience.
The true story of the amazing race horse Seabiscuit gives new meaning to the word underdog, and the film doesn't shy away from hammering this point through. It follows the odyssey of three men who have come close to losing everything during the Great Depression, until one horse lifts not only their spirits but that of an entire nation. Owner Charles Howard (Jeff Bridges), trainer Tom Smith (Chris Cooper) and jockey Red Pollard (Tobey Maguire) aren't what you'd expect to become horse racing royalty. Neither was Seabiscuit who was smaller than other race horses.
The three men come together with a common problem, a broken heart. Tom is more comfortable on the range than the bustling country that threatens his lifestyle. Charles is an automobile tycoon who had everything in the world before his life was shattered by the death of his son. Red suffered the most during the Depression, displaced from his home and forced to become a man long before he needed to. He also had to deal with the fact that he was blind in one
eye. The fact that these three found each other is about as incredible as Seabiscuit's ability to improve their lives.
Director Ross keeps the proceedings grounded in reality but is also not afraid to make everything seem like it's Norman Rockwell painting. There's a majestic beauty to everything about the film, thanks to John Schwartzman's beautiful cinematography and a score by Randy Newman. The race sequences are shot with an expert's eye, heart-pounding and quick. Ross does resort to his maudlin tactics though, just as he did with "Pleasantville." Some of the scenes also do not blend together well. All is forgiven once emotions take over
the audience, and at nearly two and a half hours there's plenty of time for that to happen.
There's an ongoing narration from David McCullough, famous for narrating PBS shows like Ken Burns' "The Civil War." This voiceover is one of the film's major setbacks, breaking in during the film to show archived photos and describe to the audience how difficult Depression-era America was. This is pandering to an audiences intelligence, stating the obvious.
One of the film's most effective elements is that it demonstrates how this one horse brought a country together. In 1938 there were more news stories written about Seabiscuit than even the unfolding Second World War. This wouldn't happen in this day and age. People back then were more fascinated with simple and pleasing news. This was also a broken country which was looking
for an underdog to root for. It's not impossible for one animal to be the most popular icon of the time and facts prove that Seabiscuit was that very animal.
Facts are another issue. I held off reading the book for the past year because I knew that the film was coming and I didn't want to cloud my judgement. I've heard complaints that the film is not entirely factual. For instance, apparently no one knew that Red Pollard was blind in one eye until he passed away. In the film, this information is released to Charles and Tom, perhaps for
nothing more than cinematic purpose. Yet, seldom do adaptations stay true to the original work.
The performances are enough to make us forget about the films shortcomings. Maguire once again proves that he's the most likeable leading man of his generation, both quiet and always believable as the underdog. Bridges continues
to perform with a blend of both dignity and sincerity. Cooper is constantly the
classic old character whose rough around the edges, yet always knows best.
I can't tell you how many times I have heard from people who are disgruntled with the films of today, wishing they would make films like they used to. I try
to convince them that there are still movies made with old-fashioned values and
style. "Seabiscuit" is one on those films. Don't miss it.
Originally posted in the rec.arts.movies.reviews newsgroup. Copyright belongs to original author unless otherwise stated. We take no responsibilities nor do we endorse the contents of this review.
