Canoodling around on the internet yesterday, I found an old article from the London newspaper
The Evening Standard in which a journalist took England's most famous female boxer, Cathy Brown, to see Clint Eastwood's film
Million Dollar Baby. I love this film so very much, or the first 2/3 of it, that reading about a woman boxer's response to it made me leap around my apartment until I found the dvd.
In the article the woman boxer, 34 year-old Brown, had recently knocked out Hungarian Viktoria Varga after just two rounds-- exactly the type of fight Hilary Swank's character, Maggie, excels at in the film. Why is it so great (and really very weirdly satisfying) to watch Swank swing out a meaty arm and knock someone senseless?
What is it with boxing and films? Why does boxing transfer so well to cinema when, for example, movies about movies so frequently suck? (Don't even get me going about
The Aviator. . . Scorsese got more from one shot of blood dripping from rope in Raging Bull than he was able to muster in 3 hours of the crap Hughes bio-pic. ) Say what you like about Sylvester Stallone, but Rocky is an extremely well-constructed, enjoyable film-- plus, I can't help but remember my pre-adolescent stirrings at the sight of his armpits. (And if you think you're disturbed by that, imagine how
I feel.) Would On The Waterfront have been quite so earthy and moving if Brando had been, say, a failed golfer?
There's essentially something very moving about the strength and sadness of people who get beat up for a living.I suppose much of the appeal of boxing films is obvious: Women like watching well-built men sweat with very little clothing on. Men like sports. Boxing is an inherently simple conflict-- two people face to face with their fists and their minds as their only weapons. It has a structure that is inherently both violent and sexual: The rounds of only a few minutes a piece, the terse interstitial instructions, leaping jets of blood as eyelids get sliced open and noses re-arranged. Plus, boxing films have the climactic potential of the old KO. Add a condom and a pizza and
that's a Saturday Night!
Million Dollar Baby relies on a lot of standard cinematic relationships, and it is all the better for that. Eastwood clearly is too experienced to avoid the necessary and enjoyable cliches: He knows their power. Swank is a classic underdog, born of the trashiest family in a trash-filled town, and freely confesses that if she were thinking straight she'd buy herself "a used trailer, a deep fryer and some oreos." Eastwood's Frankie is a world-weary old trainer with a mother-hen instinct, who helps his boxers with their automotive problems and worries about their health. The story is told in flash-back, in voice-over. And who does the voice-over?? Only the biggest smoothie in the business: the buttered gravel voice of Morgan Freeman. This man's voice held
The Shawshank Redemption together, its gravity belying the movie's potential for sentimentality. The man could read the back of a tampon packet and make it sound epic and evocative.
Eastwood and Paul Haggis, the screenplay writer, also rely on one of my favorite movie conventions: The Same Sex Non-Sex partner. Think Laurel and Hardy, Voight and Hoffman in Midnight Cowboy, Butch and Sundance. (In fact, the only film cliche I like
more than the Same Sex Non-Sex partner is The Makeover. I just love it when they take a beautiful person with no make-up on, make them up, and suddenly. . .guess what?!? They look like a movie star!) But I digress: Eastwood and Freeman are world class SSNS partners. I would happily watch hours of footage of these two characters, Frankie and Scrap, sitting in a van waiting for the Automobile Association to come fix their alternator. Or maybe shopping with double-discount coupons at the Piggly Wiggly.
The best SSNS couples express their affection through rudeness and honesty. After Frankie's #1 fighter coldly dumps him for his rival, Scrap observes, "It wouldn't be so sad if you weren't so old." Exactly. That's exactly right. And that's exactly why Frankie has taken as his motto: "Always Protect Yourself." He doesn't want his fighters in over their heads, because they might get hurt; yet he doesn't want to get attached to them because he might get hurt. He doesn't want to train girls because it's
painful to watch women get beaten up.
All of this vulnerability makes Million Dollar Baby a difficult film to watch at times. After a few girlfights I began to distract myself, to have fantasies that Hilary Swank might want some revenge on the bastards who raped her in Boys Don't Cry, and start kicking a little male ass. After all the films we've had to sit through watching women get assaulted, it seemed time to even things up a bit.
However, the filmmakers are far higher minded than my vengeful soul, and they took this quietly inspirational story in a very different direction. After Maggie and Frankie have realized that their friendship has turned into a deeper father and daughter relationship, Frankie forces himself to throw caution to the winds: After several refusals, he allows Maggie to fight Billie, the WWF champion. Billie's a dirty fighter (we are told she's an ex-hooker from Berlin, so presumably she's a little cheesed off what with us winning the cold war and all those low-paid blow jobs). And, in an exceptionally nasty move, Billie throws a series of illegal punches which culminate in Swank's spinal column getting snapped.
Which brings us back to what Cathy Brown--remember the English boxer?--thought of Million Dollar Baby. She felt that the film enacts a big fear that people in the boxing world have always had about women's boxing: "That a serious injury to a woman boxer might destroy the sport. I think some people will come away from this film not wanting to see women box in real life. That would be a shame. We train as hard as men, we fight as hard, and we have the same right to be in the ring."
Well, I can see why Brown would worry about that, but in fact this film reflects quite well on women's boxing (though slightly less well on ex-hookers from Berlin). What I would say to Cathy Brown is this: a. Please don't kick my ass, and b. Maggie traveled places she'd never imagined visiting, earned beaucoup bucks, excelled at a sport she loved, and found a very meaningful relationship with Frankie. As Scrap points out, "People die every day after mopping floors. Never got their shot. If she dies today she'll be thinking 'I did all right'."
In short, thank Christ for Clint Eastwood. He just keeps cranking out film after another intelligent, serious, thoughful film. He doesn't have the soundtrack shout his intentions at us (are you listening, Scorsese?? Howard Hughes was deaf: I am not).
And Eastwood can take the piss out of himself. I will be trying not to let the Angelina Jolie effect deter me from seeing his next,
The Changeling, though the pulsing veins in her arms--and the crazy in her eyes--are somewhat distracting. But eat your greens, Clint baby. . .we need you around.
And as for the Be Brave Project, my own efforts to stop shadow boxing with the past? Sent off my 2006 taxes to the Dream Accountant, received my 2005 from same. Am within one day of sending off that damn
Self piece, and will be seeing the elusory duplex this weekend. Oh yes, and I've decided to get over my fear of Russian Literature: I bought
War and Peace. I just wish Morgan Freeman would read it to me. . .