![]() Million Dollar Baby appears to be, first, about a boxer overcoming the odds. Eventually, he sets aside everything else for her. 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. ![]() He writes his daughter every week and dutifully files each letter as they, one by one, return unopened. Like Maggie, Frankie also has a broken family. This scene sets up an emotional association with her family that becomes relevant later in the filmâ€â€which I will refrain from discussing only because it would reveal a critical plot point. I am certain this is not the first time an American family has looked at their situation in such a cockeyed manner. To them, owning an asset is an obstacle to a sustained existence below the poverty line, rather than a way out. ![]() Her family’s goal in life, it seems, is to do absolutely nothing and swindle the welfare system in the process. Her mother can only think to ask why Maggie didn’t give them money instead. After winning several fights, Maggie, in an act of forthright generosity, buys her mother a house. ![]() Maggie’s family is a case study in abject selfishness. 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. 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.īill 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. Boxing is the backdrop against which a much greater, deeper character drama takes place. 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. Eventually, having little to lose, and, perhaps, succumbing to the realization that she may never leave him alone, Dunn agrees to train her. 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. In paralllel with the earlier scenes of Dunn pestering Father Horvak, Maggie appears impossible to turn away. I suspect, however, that there is a purpose in the grand scheme for everyone in this tightly knit film—even Danger.Įnter Maggie Fitzgerald (Hilary Swank). The other is Danger Barch (Jay Baruchel)… Well, make that one option. If only his fists delivered as consistently as his mouth. That leaves Dunn with two viable options. What is it he fears so deeply? This the kind of film that bothers to explore that, among other complex aspects of human behavior.Īfter 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. He pushes only so far, and not far enough. Little could go for a title fight, if only Dunn believed it and was willing to take the risk. Like any good coach would, his smug inquisitions keep Father Horvak sharp and on his toes.ĭunn’s meal ticket is Big Willie Little (Mike Colter). ![]() 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. 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. All Rights Reserved.įrankie Dunn (Clint Eastwood) is the type of individual who goes to church, it seems, purely to push Father Horvak’s (Brian O’Byrne) buttons. ![]()
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