HOOSIERS (1986)

Title: HOOSIERS

Year of Release: 1986

Director: David Anspaugh

Genre: Drama, Sport

Synopsis: A man comes to Indiana to coach the town's basketball team, and finds resistance at first, but support arrives from some highly unlikely quarters.

Within a film history context: Several films with a basketball coach as their main character have been present in cinema since the 1920s. Sam Wood's silent THE FAIR CO-ED (1927), had the male coach of an all-female college basketball team being pursued by two of its players in this early comedy. Into the sound era, BIG TOWN SCANDAL (1948), directed by William Thomas, featured the editor of a publishing company assisting juvenile delinquents in setting up a basketball center for them, with him as coach in this crime movie. The basketball coach in Jack Nicholson's DRIVE, HE SAID (1971), was a testy man fully committed to winning the game, but had to contend with a number of wayward players in this drama. THE LAST PICTURE SHOW (1971), directed by Peter Bogdanovich, had a coarse coach who it was intimated played both sides of the field with one of the members of his basketball team, whilst being emotionally distant from his wife. 

Melville Shavelson's MIXED COMPANY (1974), followed the life of a basketball coach whose wife wants more children, but his inability in this arena puts a stop to this. She suggests adoption, a notion with which he is not comfortable, especially as she wants to adopt a black boy, a Vietnamese girl, and a Native American boy. ONE ON ONE (1977), directed by Lamont Johnson, was about a young basketball player who wins a college scholarship in Los Angeles, but must contend with a disagreeable coach, and associated academic difficulties in this sports film. Jack Smight's FAST BREAK (1979), focused upon a basketball aficionado who is offered a coaching position at a college, and brings together a motley crew of players to make a winning team. THAT CHAMPIONSHIP SEASON (1982), directed by Jason Miller, featured an aging basketball coach reuniting with his players, but the initial happy spirit of the event goes in another direction as their respective personalities clash. HOOSIERS was the best film about a basketball coach in its time.

In HOOSIERS, the male basketball coach was the central character, motivating all the action in the film. This was also present in MIXED COMPANY, FAST BREAK, and, to a lesser degree, THAT CHAMPIONSHIP SEASON. It was from the coach that passions, arguments, debates, and other events emanated. Their belief in the game, though, was more pronounced in the coaches from FAST BREAK and HOOSIERS than the other examples. These films were given over to extensive basketball game footage, and background information about both the coach, and his team members, which gave depth to the movies. HOOSIERS differed from FAST BREAK in that it was set in the 1950s, and was not contemporary of its era, as the latter was from the late 1970s. HOOSIERS was more of an inspirational narrative than FAST BREAK, where the coach assisted his team to reach the heights, and which he himself achieved. In contrast, FAST BREAK had a leaning towards comedy, with some dramatic moments interspersed. 

There are some other notable differences between FAST BREAK and HOOSIERS. The coach in HOOSIERS was instrumental in changing perceptions of the sport in the small town where he was coaching the players. There was a subtle inference to small town belief systems which take a tumble through the coach's methods for success. All-out antagonism was not displayed toward the coach, but a coming to grips for the townspeople of something new to them. While other examples such as THE FAIR CO-ED, DRIVE, HE SAID, and THE LAST PICTURE SHOW, had well-drawn interpretations of coaches, the characters in these movies took a back seat to HOOSIERS in the coverage the coach receives. One gets to know coach Norman Dale in detail in HOOSIERS, and what makes him tick. His interest in the opposite sex is treated in a naturalistic manner, with the union of two people who have a passion for basketball not forced in its execution. The best portrait of a basketball coach, HOOSIERS deserves credit for creating a three-dimensional character in this respect.

Overview: David Anspaugh is an American director with seven motion pictures to his credit. These are mostly dramas, with several sporting-themed movies amongst this group. Mr Anspaugh's second film, FRESH HORSES (1988), was about a university student who falls for a young Kentucky woman he meets one day, despite being already engaged. This young woman has a few surprises of her own in store for the man in this drama romance. RUDY (1993), was a biopic of real-life American football player Daniel Ruttinger, better known as Rudy, and his aspirations to play college football despite many setbacks in his professional life. MOONLIGHT AND VALENTINO (1995), was a romance of a recently widowed woman, and how several close female confidants support her at this critical moment in her life. The woman finds a new lease on life in the form of a housepainter whose attentions prove positive to her. 

Crime was the central element which pervaded WISEGIRLS (2002). When a former medical student starts waitressing at a New York Italian restaurant, she is plunged into a world of narcotics and dirty dealings in this suspense drama. THE GAME OF THEIR LIVES (2005), was another sports film outing for David Anspaugh. A tale of an American soccer team competing against England, and winning in the 1950 FIFA World Cup, it was, unfortunately, a heavy loss maker for its production company. Mr Anspaugh's last film to date, LITTLE RED WAGON (2012), was the inspirational story of a young boy whose work for homeless children resulted in the creation of a charity for support in this area. HOOSIERS marked David Anspaugh's film debut, and is his best movie.

With HOOSIERS, David Anspaugh has crafted an excellent motion picture. Taking as its focus a basketball coach assigned to train an Indiana team for the state championship, and the challenges he faces in his mission to make them winners, it is a beautifully made movie that compels from start to finish. David Anspaugh has achieved this in the following manner. The flow of events is seamless, teamed with a story which only offers emotional nourishment and satisfaction without being either saccharine, or gimmicky. Mr Anspaugh has succeeded in bringing his movie to life by providing it both an air of reality but also, making the viewer invest time and feeling in what is taking place onscreen. It lacks that obvious commercially driven aura which stigmatized many 1980s films, and is all the better for it. It does not have its eyes firmly planted only on the box office, but has the ability to tell an affecting story in a highly sensitive way. As David Anspaugh's greatest movie, and one of the best films of the 1980s, HOOSIERS is a winner. 

Acting: There are a number of performances in HOOSIERS which are exceptional. In the lead role of Norman Dale, coach of the basketball team, Gene Hackman is in one of his most sympathetic parts. While Mr Hackman usually plays protagonists who one would expect to explode emotionally, but keeps a veneer of uneasy calm, here he has that, but also, a slight vulnerability, and comic timing that is unforeseen. The thorn in Norman Dale's side, schoolteacher Myra Fleener, is a great showcase for Barbara Hershey. An actress highly adept at complex, multidimensional characters in her pictures, she carries this off beautifully in HOOSIERS, compelling the viewer with Myra's psychological twists and turns. Myra's mother, Opal, is a nice turn by Fern Persons. With her knowing ways and innate knowledge of her daughter's inner thoughts, Miss Persons' Opal is a subtle, lightly humorous portrayal which delights. The last acting of note was by Dennis Hopper as Shooter, a former basketball coach with psychological issues. As always, Mr Hopper makes his character's thoughts and actions thoroughly understandable to the audience, with his inimitable nerviness, and lack of inhibitions, which also lend his Shooter a fun edge.

Soundtrack: Jerry Goldsmith's score for HOOSIERS is perfect. Rousing during the many basketball sequences, and quieter in the character verbal exchanges, it works beautifully, considerably enhancing the visuals. It is also interesting to note that in the opening credits sequence the score is more romantic and solemn than in the closing credits, which is bolder in tone, matching the positive outcome of the story, and its inspirational focus.

Mise-en-scene: Visually, HOOSIERS has much going in its favour. The CFI colour photography by Fred Murphy has a muted but realistic flavour, which works for a movie that, although set in the 1950s, does not require screaming colour, as nostalgia is not the point of the enterprise, but raw human emotion and determination. Locations are all excellent, with the many outdoor scenes bringing the story of 1951 Indiana, Norman Dale and his basketball team, to vivid life. In turn, Carroll O'Meara's editing is smooth, with the exciting basketball segments assembled with style and nous. Additionally, his work on the character scenes are all satisfying and logical without ever being choppy. 

Notable Acting Performances: Gene Hackman, Barbara Hershey, Fern Persons, Dennis Hopper.

Suitability for young viewers: Yes.

Overall Grade: A

Link: IMDB Page

Trailer

THE BABY MAKER (1970)

Title: THE BABY MAKER

Year of Release: 1970

Director: James Bridges

Genre: Drama

Synopsis: A couple unable to conceive a child enlist seek a surrogate to give birth to their child, locating a suitable young woman for this, the husband subsequently impregnating her.

Within a film history context: Infertility in male, and female characters has been presented several times in cinema before THE BABY MAKER. One of the first examples was William Keighley's DR. MONICA (1934). An infertile obstetrician discovers that her friend's baby, which she is set to deliver, is actually fathered by her husband. This causes waves between the women, with both willing to make sacrifices on account of their future happiness, and for the baby. JOURNEY FOR MARGARET (1942), directed by W. S. Van Dyke, was set during World War II. An American and his wife in London are affected by the war, the pregnant wife injured during The Blitz, and losing their baby as a result. The husband visits an orphanage and becomes enamored of two children, whom he wishes to adopt for him and his wife, but certain obstacles make themselves apparent in this touching movie. In a similar vein, Henry Koster's MY BLUE HEAVEN (1950), centered around a showbusiness couple, with the wife losing her baby, and unable to conceive again. She and her husband determine to adopt a child, all the while maintaining their television series appearances. Another drama about a couple unable to have a child was CLOSE TO MY HEART (1951), directed by William Keighley. A couple who cannot have one of their own begin enquiries about adopting a child, but run into hurdles based upon its parentage, of which the husband is most concerned. Matters were equally somber in Rudolph Mate's PAULA (1952). After suffering her second miscarriage, and consumed by the fact she cannot have other children, a tormented woman injures a child at night, leaving him unattended. Guilt overcoming her, she volunteers at the hospital to assist the child, who is an orphan. The woman and child bond, but the events of that fateful night may come back to haunt her in this compelling movie.

Things were not as innocent in THE BIGAMIST (1953), directed by Ida Lupino. A woman's infertility, and how she and her husband wish to adopt a baby, are the starting points of the story. An adoption agent's investigation of the couple unearths certain truths about the husband, and his two wives, which makes up the content of this film. In the next example, comedy was at the fore of Gene Kelly's THE TUNNEL OF LOVE (1958). A couple unable to conceive a child visit an adoption agency to initiate the process, and come against many hurdles and misunderstandings, both serious and comic, in their quest. Into the 1960s, John Rich's THE NEW INTERNS (1964) was a multi-character drama set in a hospital, following the lives and loves of its staff members. Infertility is a subject in this movie, with a doctor finding out he cannot have children, the movie detailing the consequences of this for him. In utter contrast, Mike Nichols' raucous WHO'S AFRAID OF VIRGINIA WOOLF? (1966), had a couple unable to conceive a baby concoct the presence of an imaginary child to hide their pain and disappointment at their predicament. One of the most pungent, honest examinations of marriage, it was a credit to all participants, with Richard Burton and Elizabeth Taylor in the lead roles as the tortured couple. THE BABY MAKER had several elements in common with earlier films in the genre, but stood out from these for other reasons.

The movie was similar in structure to the many films where a married couple seek the services of an agency to adopt a child, such as MY BLUE HEAVEN, CLOSE TO MY HEART, and THE TUNNEL OF LOVE. Either the wife, or both parties cannot conceive a child for one reason or another, as with the wife in THE BABY MAKER. Putting on a unified front, they go through the process of adoption, with the many examples such as in the pre-mentioned films charting the roadblocks the couple may encounter in reaching their aim. Where THE BABY MAKER changes course from other samples is that the couple do not deal with an agency which is cold and bureaucratic. Their advocate is a mature, understanding lady who seeks to make the process as seamless as possible. As the couple appears to have not done anything to sabotage their adoption desires, the sometimes melodramatic obstacles of other films, placed in the way of the adoption are not present in THE BABY MAKER. Instead, the movie lays bare the many issues the couple face having the surrogate in their home, and part of their lives for nine months. There is enough material here without other stumbling blocks being placed in their way, which gives the movie a more naturalistic, adult feel. Another aspect of THE BABY MAKER is also refreshing for its treatment.

In movies such as CLOSE TO MY HEART, where the identity of the adoptee's biological parents was placed under the microscope, causing issues for those wishing to adopt the child, matters in THE BABY MAKER take another direction. Aside from the fact that THE BABY MAKER deals with Tish, a surrogate being impregnated by a sterile woman, Suzanne's husband Jay, both the couple, and the audience, find out exactly who the surrogate mother is in the movie. Tish is not a shadowy figure in any respect, but a flesh and blood presence whose intimate thoughts, and life, are put on display for the spectator. This also provides the movie with both layers of obvious, and less evident emotional undercurrents that the other movies could never explore. This was mainly due to the fact that biological parents were either deceased, or never shown, in movies such as JOURNEY FOR MARGARET, and PAULA. Aside from this, the effect of Tish's surrogate pregnancy is also explored in secondary characters such as Tish's boyfriend Tad, and how he handles her situation. 

Tad's quizzical reaction gives THE BABY MAKER a point of difference, moving away from the viewpoints of just the central trio of Jay, Suzanne, and Tish. A further interesting counterpoint can be found in Tish's friend Charlotte, and how she envisions Jay. There is the perception, mainly comical, that he is too dry and middle-class, but passable as a person. This fills out another perspective on how Jay is envisioned, who, apart from Tish, is also a 'baby maker', thereby assisting the audience to see him in another light. A perceptive movie with many memorable scenes, THE BABY MAKER is not only an absorbing motion picture but also, makes viewers see the issue of infertility from all sides of the equation.

Overview: James Bridges was the director of eight motion pictures over a period of eighteen years. Generally dealing in dramatic themes with a nod to issues of the times, his movies deftly combined social awareness with stimulating entertainment values. Mr Bridges' second film, THE PAPER CHASE (1973) was about a young law student, and the ups and downs of his academic life. In particular it followed his relationship with his professor, and the blossoming romance between him, and the professor's daughter. SEPTEMBER 30, 1955 (1977) detailed the events in a life of a young man who was a fan of James Dean, and both his, and the reactions of his friends, to the actor's death. Next came one of James Bridges' most famous movies, THE CHINA SYNDROME (1979). A tense exploration of events at a nuclear plant, and the cover up about certain safety procedures, it was a box-office success that also enjoyed considerable critical praise. 

Mr Bridges' fifth film, URBAN COWBOY (1980), was a change of pace for the director. A character study of a young man and woman, with western and country music overtones, it nevertheless made money, and was an interesting addition to the director's oeuvre. Unfortunately, James Bridges' next movie, MIKE'S MURDER (1984) was not as notable. The story of a woman investigating the death of her lover, discovering things she never knew about him, was not a financial success for its studio. James Bridges' penultimate film, PERFECT (1985) also did not perform as well as expected at the box office. The story of a reporter composing a piece on fitness clubs, then becoming involved with an aerobics instructor, did not resonate with the public and lost money, critical opinion anything but friendly. The final film of James Bridges, BRIGHT LIGHTS, BIG CITY (1988) was a drama about a young writer in New York City, especially concerned with his drug addiction, and emotional issues. As with his previous two movies, it was not a money-maker, and received with mixed critiques. THE BABY MAKER, being James Bridges' first motion picture, was one of his better projects, and an insightful film.

James Bridges has crafted a movie that approaches the delicate subjects of surrogacy, and infertility, with a humanistic, sympathetic slant. Mr Bridges ensures that the audience comprehends the feelings of all parties involved in this exchange, which is one of the best features of the film. THE BABY MAKER makes crystal clear exactly what married couple Suzanne and Jay are seeking to make their lives complete, which is a child, and how Tish is the one who can assist them with this. The narrative is nicely-paced, and fluidly moves from one situation to another with ease and precision. One feels as they are being afforded an intimate glimpse into the lives of these characters, with a level of depth that makes them three-dimensional. While a dramatic film at heart, THE BABY MAKER is not all gloom and doom, which gives it an easy watchability. There are some lightly humorous sequences which meld well with the more serious stretches, but these are not antic-based in nature. Everything is pertinent to the characters, and where they are in their journey. Some of the information relating to pregnancy and surrogacy, though, may be dated in retrospect, but this is irrelevant overall - the intention is to inform the audience, which is an achievement that should not be underestimated. THE BABY MAKER does have a number of positive facets such as those mentioned, but there are some aspects which needed further work.

It is admirable that THE BABY MAKER dives into the story, immediately letting audiences know of the movie's burning issue, but the lack of a prologue from the characters is a little jarring. Scenes which could have established Tish's thoughts on surrogacy, and Suzanne and Jay's likewise on their situation, would have added immeasurably to a sense of smoothness in the beginning of the film. On the other hand, there are some scenes which could have been shortened, as they do not do much for the film. The sequence where Tish is in the nightclub with the music blaring, and psychedelic images popping on the screen is something which skillfully reflects late 1960s/early 1970s culture, but the imagery in this segment is a little too much. Similarly, the protest scene feels as if it has just been added in for social relevance purposes, but it is also extraneous. The only real meaning to be gleaned from this was that it showed Jay was not as cool emotionally as first thought, as he jumps to Charlotte, and the crowd's, defense.

THE BABY MAKER, in all, works best when it explores those little moments of keen character interaction. Scenes such as Tish's visit to her mother and grandmother in the trailer, and Tish trying to make Jay breakfast, but not succeeding, are all excellent. They give the audience character information to savor, and relish for its honesty. These particular sequences have a sense of emotional veracity which give the characters added dimension, and are surprising in, and of themselves. In summing up, there are some things which can be said about THE BABY MAKER as a movie. Although the film does have its lapses, overall, THE BABY MAKER is an engaging motion picture that deals with a difficult topic in a truthful, forthright manner.

Acting: Acting in THE BABY MAKER is of a high standard, with several earnest performances standing out. In the lead role of Tish, Barbara Hershey contributes another complex character to her cinematic credits. What could have been a one-dimensional hippie girl is made into a flesh and blood person in THE BABY MAKER, whose innermost emotions and thoughts have been laid bare to the audience by Miss Hershey. Collin Wilcox Paxton, as Suzanne, the woman wanting a child, but unable to conceive, makes her feelings of inadequacy, and sadness, transparent to the audience without overt shows of emotion. Her quiet reactions to situations, such as Jay's growing connection to Tish, makes them all the more heartrending. As Suzanne's husband Jay, Sam Groom is an actor whose polished presence in the movie gives it another layer of intricacy. While in the beginning it appears Jay is uncomfortable with his part in the conception of his child with another woman, Mr Groom's facial expressions, and eyes, say this without any dialogue, his subtle personality slowly weaving its way into the movie. Jay is a low-key character with a warmth that wins over not only Tish, but the audience as well. There are three other performers who make also their mark in THE BABY MAKER.

As Tad Jacks, Tish's boyfriend, Scott Glenn is another multi-faceted protagonist, and a polar opposite to Jay. Where Jay is reserved and gentlemanly, Tad is working class, and brusque. There are also telling contrasts between the sexuality of THE BABY MAKER's male characters which are of note. Jay is only depicted shirtless within the confines of his marriage, and with Tish at the swimming pool; a 'safe' masculinity. On the other hand, Tad is shirtless for much of the movie, and naked in some scenes. There is the concept posited that Tad's 'dangerous' masculinity is not within the parameters of suburban morality, and Scott Glenn plays this for all it is worth in the movie. As Mrs Culnick, who brings Tish into the lives of Jay and Suzanne, Lili Valenty is authoritative as the initiator of the couple's surrogacy agreement, her diplomatic manner adding a touch of class, and Europe, to the movie. The final performance of note is by Phyllis Coates as Tish's mother. Despite being featured in only a handful of scenes, Miss Coates makes her presence felt as Tish's knowing, humorous mother.

Soundtrack: THE BABY MAKER does not have a soundtrack laden with tunes, which works to give the scenes, especially the intimate conversations between characters, appropriate space. The most notable piece is Fred Carlin's 'People Come People Go' which, as with many 1970s movies, is played at both the beginning, and end of the film. It gives the movie a bittersweet, melancholy feel when taking into account what has occurred between both points of time in the film.

Mise-en-scene: THE BABY MAKER is beautifully photographed courtesy of cinematographer Charles Rosher Jr., who makes the pretty California locales appear picturesque without disintegrating into a travelogue. There are scenes at the beach and at the theme park which are not too bright, but thankfully blend into the movie as a whole. Regarding Raymond Paul's set design, he makes clear effective contrasts between Tad and Tish's scruffy artist's den, and Jay and Suzanne's lush home, with its modern appliances and furnishings. Aside from set design, costuming has also been well utilized to make certain points about characters in THE BABY MAKER. The economic, and social differences between both couples are also evident in their apparel. Jay and Suzanne's costuming is refined and classic, while Tad and Tish's is of the early 1970s, more laidback and funky, with mini dresses and long hair for both sexes the order of the day.

Notable Acting Performances: Barbara Hershey, Collin Wilcox Paxton, Sam Groom, Scott Glenn, Lili Valenty, Phyllis Coates.

Suitability for young viewers: No. Infrequent coarse language, male nudity, female nudity, adult themes.

Overall Grade: B

Link: IMDB Page

Movie Excerpt

THE NATURAL (1984)

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.

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.

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.

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.

Suitability for young viewers: Suitable for children with adult discretion. Mild adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

Trailer