Million Dollar Baby

Reel Critic Grade: A Running Time: 137 minutes Rated: PG-13

Like a skilled prize fighter, Million Dollar Baby works on you slowly, subtly, draws you in, and then, when the time is right, lands a punch that drops you to the canvas. This is brilliant filmmaking. Clint Eastwood has crafted yet another masterpiece and shown once again that character, not spectacle, is what makes a noteworthy film. Without question, the best film of the year. Oscar is sure to deliver their version of the championship belt during the film industry’s biggest night.

Million Dollar Baby tells the story of grizzled fight trainer, Frankie Dunn (Clint Eastwood), who owns and operates a run down, no frills boxing gym. He’s been in the game a long time and knows what it takes to mold a fighter into a contender. He’s an Irish Catholic who attends mass every day, which prompts his priest to comment, “Anyone who attends daily mass for 23 years tends to be carrying a lot of guilt.” His guilt has something to do with an estranged daughter who returns his letters unopened.

Another fixture at the gym is, Scrap (Morgan Freeman). He’s a former fighter who Frankie guided to a title bout, only to lose the fight and the use of one eye. Frankie blames himself for Scrap’s misfortune, but Scrap sees it differently. They’re friends in the way crusty old guys are when they’ve got history that spans decades. Scrap narrates much of the film with the same simple effectiveness he (Freeman) brought to The Shawshank Redemption.

Everything changes for the two men when Maggie Fitzgerald (Hilary Swank) walks into the gym and asks, repeatedly, to be trained by Frankie. She’s a spunky little thing from the South, with enough drive and determination to impress Marciano, Ali and Foreman. She’s drawn a hard lot in life and fights every day for the opportunity to go one more round. Boxing is her only way up and out, but she needs help to get there.

The problem is Frankie doesn’t train, “girlies.” Maggie isn’t deterred - she’s at the gym every day. Scrap likes her, but can’t get Frankie to change his mind. But, when Frankie’s current understudy leaves for a manager who will give him a title shot, Frankie gives in and agrees to train Maggie. He’s tough on her, but she can take it - and dishes it back when needed.

In short order, Frankie has an honest female fighter on his hands and who knows how to win. Their relationship grows, along with her string of victories. Maggie fills a void in Frankie’s life and he does the same for her. It’s not a romantic relationship, more like the love a father and daughter share. This love is put to the test when events unfold differently than they had hoped.

Million Dollar Baby is based on the book, Rope Burns: Stories from the Corner, written by F.X. Toole. The script was penned by two-time Emmy Award winner, Paul Haggis. Haggis earned an Academy Award nomination for Million Dollar Baby and rightly so. His script is beautiful simplicity. There is nothing superfluous.

Everything has a purpose and is driven by character. He is a writer who trusts the audience. He’s also patient where others might feel the need to keep pace. This gives the film a calm, even flow that never drags. It’s fantastic work. Haggis next collaborates with Eastwood on an adaptation of James Bradley’s, Flags of Our Fathers.

I can’t say enough about Eastwood’s work. He is director, producer, and actor on Million Dollar Baby. His acting, as usual, is top notch, but it’s his directing that had me awestruck. Like Haggis’ script, Clint strips everything away and we see only what is necessary. He forgoes the usual Hollywood look and feel for a more daring and dark film, utilizing shadows and poorly lit rooms. It’s highly creative for a film in this genre and very effective.

Eastwood also has a knack for drawing out Oscar-worthy performances from his actors (Freeman, Swank and Eastwood are all nominated this year). It’s obvious you learn a thing or two after 50+ years in the business.

Million Dollar Baby isn’t the film you expect. It’s never a boxing movie. Rather, it’s a film that confronts the human condition. How we struggle, hope, dream, love, and the choices we make when we’re down on the canvas and the count is almost to ten.