Cast:
Kevin Costner (Lawrence "Crash" Davis), Susan Sarandon (Annie Savoy), Tim Robbins (Ebby Calvin "Nuke" Laloosh), Trey Wilson (Joe "Skip" Riggins), Robert Wuhl (Larry Hockett), William O'Leary (Jimmy), David Neidorf (Bobby), Jenny Robertson (Millie), Danny Gans (Deke), and Max Patkin (Himself) Written and Directed by Ron Shelton (#381 - Cobb and #1075 - Hollywood Homicide)
Review:
“I thought if I was gonna have a shot as a director, I’m gonna have to write something that everybody else can say, ‘Well, whatever we think of Shelton, certainly nobody in the world knows more about the subject.”
This was the debut film directed by Ron Shelton, who has directed nine feature films in a career of over three decades - five of these films revolve around sports in some way (all except Cobb have comedy in some way, for example). But it is this film that is most personal for Shelton, who had graduated from Westmont College in California (studying English Literature for his major while being a star in basketball in baseball) and immediately went to play minor league baseball. For five years, he would play in various leagues and even reach Triple-A (the highest level in the minors) with Rochester before he decided to quit at the age of 25 in 1971, shaped by a strike in Major League Baseball. The curiosity for filmmaking came in part because he would go to see movies while on the road, with one particular film that inspired him being The Wild Bunch. Afterwards, he would do study within graduate school, graduating from the University of Arizona with a fine arts degree before moving on to do work with painting and carpentry with time spent writing screenplays. In 1981, Shelton received his first film credit when he worked on The Pursuit of D.B. Cooper, a troubled film that had three directors while Shelton worked as an associate producer and creative consultant. Two years later, he wrote his first screenplay, doing so in collaboration with Clayton Frohman on Under Fire (1983).
The idea for the film was quoted by him as “Lysistrata in the minor leagues", which if you may not be aware reflects a play about a woman who wants to end a way by having the women withhold romancing their husbands and lovers in order to garner peace (several writers and filmmakers have made their own works based on being inspired by the play) - Shelton wrote the film in one draft, with the filmed version having few changes (interestingly, one person that Shelton did have help from with the script was Kurt Russell, a former minor leaguer himself). Shelton drew upon his experiences in the minors for the script, ranging from moments such as an intentionally flooded field or a manager throwing bats at his team after a loss. He wanted to make a film with character development that did not necessarily go the way a number of sports films usually go, since what we are seeing is a movie about folks in transition, complete with a lead in Costner that might as well be drawn out from a Western (as per Shelton's liking for that kind of genre) for folks that will prevail in whoever happens to have less self-awareness. It's a study on human behavior that works fine for what is needed, which means a pretty good experience. Respectfully though, if I am asked about its place as a great sports film, there is one easy statement: the best baseball movie ever made in that decade came the following year with either Costner as the star (you know the one), or it came with the big ending at the end (Major League)...it might have been a mistake to watch the latter again before I saw this feature (look at it this way, maybe it inspired all those other baseball movies to come in its wake). But hey, if you want your romance comedy to mix with the usual sports movie, go right ahead. Writing about movies is a perspective different from person to person, and I found it to be good - and that's a fine place to be for a movie with a director that wanted to make it with his own perspective without fancy mythologizing (if one has to be pedantic, however, the minor league record for home runs was certainly not 246 - Buzz Arlett had 432; of course, if one really wants to drag it out word by word, I could also take umbrage with anyone who dislikes the designated hitter rule). Baseball is a business that has adults and kids playing a game, after all, and Shelton wanted a movie from an athlete's perspective, complete with filming in Durham on cold nights in winter (if one is curious about the name, as I was, it actually refers to a tobacco company of the same name, for which the city became famous for).
Oh, but enough about all of that, how's the cast? They do pretty well for themselves, with a core trio that is hard to resist in seeing on and off the park. Costner does well here, in part because he excels where others would probably grimace with a role that grits and grins in a way that might as well sound like Shelton talking about himself, one where each loves the game more than it loves him in a gunslinger-type of way (Costner's character was modelled after William Holden's performance in...you guessed it, The Wild Bunch). You can see the passion in his eyes any time he is on the field, one with honesty and charm that never wavers whether paired with Robbins or Sarandon. There are quite a few highlights one can note with him around, but I think the last scene spent with Robbins is a charmer, one where he imparts a key lesson about fear and arrogance for the majors while getting a shiner in the eye and asking which hand it came from. Sarandon gives her heart and charm with the depth one should expect from a veteran presence like her (she had been an actress for nearly 20 years before this film). She breathes baseball and care into a role that could have been bungled into casual fluff with a lesser actress; here we have a crisp performance that makes those intimate moments spent with either Costner or Robbins come out clear in balance in connections. The interesting thing to note is that the studio did not want Robbins for the role, since they really desired Anthony Michael Hall (Hall was ten years younger than Robbins...who was only three years younger than Costner), and it took Shelton threatening to quit for Robbins to stick around. He proves quite genuine here, brimming in confidence that makes for a quality one-two punch for what is needed in a coming-of-age (for baseball) tale that keeps everyone fresh without being sold out for a cheap joke. Let's put it this way: being on the mound in a garter belt makes for quite a fascinating little scene. Wilson (who died the following year at 40) contributes as well in character presence expected for a manager with good timing; the same can be said of Wuhl and his shepherding presence. If you need an easy confirmation that we have a movie that breathes baseball, one could just watch the parts with Max Patkin performing before the game. Patkin was the famous "Clown Prince of Baseball", and he would perform to any size of crowd for over a half-century. As a whole, what matters most for 108 minutes is in how much one connects with the story told here through the lens of sports with people at the crossroads of life, whether that means someone who only just taken their first few steps in a career or for people nearing the end of one path, or for those somewhere in between. In that sense, it makes for a fairly engaging movie, never tiring itself out at any road it wants to take that never compromises its vision for anything, and in the end that means a worthwhile time for all who find themselves involved with it.
Editor's Note: Obviously this review was meant to be published at a different time...four days late, as it turns out, since writing this took a bit longer than expected. At any rate, I wanted it to accompany the start of the season in Major League Baseball, back in its regular format of playing in the spring - as always, I hope for a great season, but I also hope that you enjoyed this review as well.
Personally, there is one more thing: Go Astros!
Overall, I give it 9 out of 10 stars.
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