Title: THE NATURAL
Year of Release: 1984
Director: Barry Levinson
Genre: Drama, Romance, Fantasy
Synopsis: The life of a professional baseball player from childhood, until middle-age.
Within a film history context: Films about baseball and specifically, male baseball players, have been present in cinema from the silent era. BASEBALL AND BLOOMERS (1911) is a lost film that centred around an entirely female baseball team, and a subsequent battle of the sexes with a male baseball team. Other films with male baseball players as protagonists during the silent era include George Ridgwel's SOMEWHERE IN GEORGIA (1917) with real-life player Ty Cobb in the main role, Jerome Storm's THE BUSHER (1919), a romance with Colleen Moore, and Monte Brice's CASEY AT THE BAT (1927), featuring Wallace Beery as the eponymous Casey. Later films include Sam Wood's PRIDE OF THE YANKEES (1942), an account of real-life player Lou Gehrig's life, and musicals such as Busby Berkeley's TAKE ME OUT TO THE BALLGAME (1949). The 1950s brought Harmon Jones' THE PRIDE OF ST. LOUIS (1952) to the screen, with Dan Dailey as baseball pitcher Dizzy Dean, and other productions such as Lewis Seiler's THE WINNING TEAM (1953), starring Ronald Reagan as pitcher Grover Cleveland Alexander.
With the 1970s came John Hancock's BANG THE DRUM SLOWLY in 1973, with Robert De Niro and Michael Moriarty as baseball players with a special connection. Later in the decade, in 1976, marked the release of THE BINGO LONG TRAVELING ALL-STARS & MOTOR KINGS directed by John Badham, a financially successful movie revolving around African-American baseball players in the 1930s. Arriving on screen in 1984, THE NATURAL differed from these films in that while it was based in an overriding realism, it contained fantastical elements which provided the film a spirit which edged it slightly into supernatural territory. While it shared with some of the other movies the account of a male baseball player's life in a biographical fashion, being based upon a real-life incident, THE NATURAL largely lacked humour which worked in its favour, the narrative events presented in a sombre, elegant manner.
Within a film history context: Films about baseball and specifically, male baseball players, have been present in cinema from the silent era. BASEBALL AND BLOOMERS (1911) is a lost film that centred around an entirely female baseball team, and a subsequent battle of the sexes with a male baseball team. Other films with male baseball players as protagonists during the silent era include George Ridgwel's SOMEWHERE IN GEORGIA (1917) with real-life player Ty Cobb in the main role, Jerome Storm's THE BUSHER (1919), a romance with Colleen Moore, and Monte Brice's CASEY AT THE BAT (1927), featuring Wallace Beery as the eponymous Casey. Later films include Sam Wood's PRIDE OF THE YANKEES (1942), an account of real-life player Lou Gehrig's life, and musicals such as Busby Berkeley's TAKE ME OUT TO THE BALLGAME (1949). The 1950s brought Harmon Jones' THE PRIDE OF ST. LOUIS (1952) to the screen, with Dan Dailey as baseball pitcher Dizzy Dean, and other productions such as Lewis Seiler's THE WINNING TEAM (1953), starring Ronald Reagan as pitcher Grover Cleveland Alexander.
With the 1970s came John Hancock's BANG THE DRUM SLOWLY in 1973, with Robert De Niro and Michael Moriarty as baseball players with a special connection. Later in the decade, in 1976, marked the release of THE BINGO LONG TRAVELING ALL-STARS & MOTOR KINGS directed by John Badham, a financially successful movie revolving around African-American baseball players in the 1930s. Arriving on screen in 1984, THE NATURAL differed from these films in that while it was based in an overriding realism, it contained fantastical elements which provided the film a spirit which edged it slightly into supernatural territory. While it shared with some of the other movies the account of a male baseball player's life in a biographical fashion, being based upon a real-life incident, THE NATURAL largely lacked humour which worked in its favour, the narrative events presented in a sombre, elegant manner.
Overview: Director Barry Levinson is credited with helming twenty-three movies as of 2015, with another two currently in post, and pre-production respectively. Mr Levinson's first film was 1982's DINER, an exploration of a group of friends in 1959 Baltimore, and he has also directed other such notable movies as GOOD MORNING, VIETNAM (1987), RAIN MAN (1988), AVALON (1990), BUGSY (1991) and SLEEPERS (1996). He has variously tackled human dramas and social issues with panache in his cinematic career, but, has a penchant for period films which have an ethereal touch. This is evident in THE NATURAL (1984), his second film.
A film set in the 1910s and spanning into the 1950s, Mr Levinson gives author Bernard Malamud's story a gentle but involving rendering, with the narrative unfolding in a naturalistic, luxuriously paced fashion. The director has made a film which explores events in the main character's life with all the emotional hooks present for the audience, and, a lack of sentimentality. The character's life is marked by his involvement with three women, which present his positive qualities, and foibles, to the audience through his relationship with them. His era with Harriet is marked by instability, the era with Memo Paris one of glamour but instability, but, the final era with Iris one of growing emotional maturity and balance.
The film is an odyssey for both the character and the audience, witnessing Roy Hobbs' evolution as a person from a young boy, to middle age. Mr Levinson presents dazzling set pieces in the film which occur at the most unexpected moments; this is a film where events take place, and their emotional significance hits the viewer suddenly. Mr Levinson has succeeded in making THE NATURAL a lyrical, beautiful viewing experience with valid comments on life, love, family, self-respect, temptation and, staying true to oneself.
A film set in the 1910s and spanning into the 1950s, Mr Levinson gives author Bernard Malamud's story a gentle but involving rendering, with the narrative unfolding in a naturalistic, luxuriously paced fashion. The director has made a film which explores events in the main character's life with all the emotional hooks present for the audience, and, a lack of sentimentality. The character's life is marked by his involvement with three women, which present his positive qualities, and foibles, to the audience through his relationship with them. His era with Harriet is marked by instability, the era with Memo Paris one of glamour but instability, but, the final era with Iris one of growing emotional maturity and balance.
The film is an odyssey for both the character and the audience, witnessing Roy Hobbs' evolution as a person from a young boy, to middle age. Mr Levinson presents dazzling set pieces in the film which occur at the most unexpected moments; this is a film where events take place, and their emotional significance hits the viewer suddenly. Mr Levinson has succeeded in making THE NATURAL a lyrical, beautiful viewing experience with valid comments on life, love, family, self-respect, temptation and, staying true to oneself.
Acting: The acting in THE NATURAL is one of its finest qualities, and something which makes the movie eminently watchable. The lead actor is ably supported by an illustrious group of thespians who provide allure to the film in supporting roles. As central protagonist Roy Hobbs, Robert Redford offers a solid rendition of the introspective, dreamy, but hopeful baseball player, another creditable performance from a most cerebral actor. Mr Redford receives excellent backing from a number of actors who provide their small roles with life. Joe Don Baker shines in a tiny part as Whammer, Roy Hobbs' rival at the beginning of the movie. A character actor who always delights with his easy manner and personality, Mr Baker's role in the movie is effective, if too brief in duration.
Barbara Hershey's turn as the mysterious, enigmatic Harriet Bird is a potent performance adding an unexpected twist to the story. Her understated acting style makes the quiet scenes involving her and Mr Redford all the more shocking when they unravel. Kim Basinger exudes fire and vulnerability as Memo Paris, a character who on the surface appears to be a vapid sex symbol, but Miss Basinger's skilful interpretation, voice and facial expressions show the audience the depth of her loneliness, and frustration, in not capturing Roy Hobbs' heart. Glenn Close, as Roy Hobbs' first love Iris, adds a charming presence to the film as the most emotionally secure of the women with whom he is involved. From the first moment Miss Close appears on screen, she captures a luminosity, a dignity that makes her the film's ideal of femininity.
Barbara Hershey's turn as the mysterious, enigmatic Harriet Bird is a potent performance adding an unexpected twist to the story. Her understated acting style makes the quiet scenes involving her and Mr Redford all the more shocking when they unravel. Kim Basinger exudes fire and vulnerability as Memo Paris, a character who on the surface appears to be a vapid sex symbol, but Miss Basinger's skilful interpretation, voice and facial expressions show the audience the depth of her loneliness, and frustration, in not capturing Roy Hobbs' heart. Glenn Close, as Roy Hobbs' first love Iris, adds a charming presence to the film as the most emotionally secure of the women with whom he is involved. From the first moment Miss Close appears on screen, she captures a luminosity, a dignity that makes her the film's ideal of femininity.
Soundtrack: Randy Newman's score is perfect, melding seamlessly with the visuals for a beautiful aural experience. Softer in the more intimate, emotional scenes, stronger and rousing in the bolder segments, it is a credit to THE NATURAL as a whole.
Mise-en-scene: The period detail in THE NATURAL is exquisite, bathing the film in an authentic, but appropriate mood without being overwhelming. From the beginning to the end of the film, it does not overdo the attire or locations of a bygone era, but, complements it in a natural manner. There are many examples of this that stand out, such as scenes from Roy Hobbs' childhood, to the baseball stadiums, to the party thrown by Memo Paris, and, to Iris' homely apartment. The production design is an aspect of the film that adds not only realism but beauty to THE NATURAL as a whole. In addition to this, the cinematography captures the people and places in subdued tones, the colour measured but never garish, and easy on the eyes.
Costume design is another part of the film that adds to its historical authenticity. The clothing worn by the male characters, designed by Bernie Pollack, fits with their distinctive quirks and personalities. The costuming for Miss Hershey, Miss Basinger and Miss Close, arranged by Gloria Gresham, also delineates their traits in a subtle way. The dark coloured garments worn by Miss Hershey perfectly express her spider woman character, as does the glamorous clothing Miss Basinger wears for her femme fatale role. Miss Close is adorned in more low-key attire than the other actresses, befitting the more sensible, down-to-earth Iris.
Award-worthy performances in my opinion: Robert Redford, Joe Don Baker, Barbara Hershey, Glenn Close, Kim Basinger.
Costume design is another part of the film that adds to its historical authenticity. The clothing worn by the male characters, designed by Bernie Pollack, fits with their distinctive quirks and personalities. The costuming for Miss Hershey, Miss Basinger and Miss Close, arranged by Gloria Gresham, also delineates their traits in a subtle way. The dark coloured garments worn by Miss Hershey perfectly express her spider woman character, as does the glamorous clothing Miss Basinger wears for her femme fatale role. Miss Close is adorned in more low-key attire than the other actresses, befitting the more sensible, down-to-earth Iris.
Award-worthy performances in my opinion: Robert Redford, Joe Don Baker, Barbara Hershey, Glenn Close, Kim Basinger.
Suitability for young viewers: Suitable for children with adult discretion. Mild adult themes, low-level violence.
Overall Grade: B
Link: IMDB Page
Trailer
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