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9/18/05 - From Anne -- After
months of waiting, I finally saw the movie this morning. Many
critics said this was the best movie Ron Howard did to date,
they are probably right. The photography perfectly gave back
the gloom of the period and the interaction between actors was
really great. Once again, Russell kept me on my toes. Despite
the fact that I knew the outcomes of the fights I still got drawn
into them. Every blow is a painfull experience and I really appreciate
that Ron did not glorify the boxing, it's a brutal thing altogether
and he did show it that way! Russell's acting was really moving:
his vulnerability, his pride and decency, his love for his wife
and kids, the way he plays with them. The only negative point
is the scene before the fight where Renee says Braddock is the
champion of her heart. The line was way too close to the scene
in ABM between Jennifer and Russ where Doc Rosen is waiting for
John to go to the hospital. I would have cut it.
Another thing, as I told you I took my father with me. He is a hard customer to please. The first thing he told me while the credits were still rolling : SPLENDID. I took a double take. He added that the story was really well told, he loved the way the period and the economic crisis is shown shocking. He did not know about Hoover ville or the real life of Jimmy, so he got to see the film with a different state of mind that I did. This was a great Sunday morning altogether. Just a slight negative point though, there were only 9 people in the cinema. I hope this was only because the screaning was at 11.30 am and because today no cars are allowed in Brussels. *********************************************************************** 9/16/05 - From Mariola: Now it’s Cinderella Man but anything, any detail even the darkest one, that has to do with, sounds, refers to, recalls or gets the name, in bright lights, in despicable tabloids or in impressive reviews on the feet of this blessed monster with all human and divine grace of cinema who is Russell Crowe, give me all the best feelings I can have and multiply them to infinite and beyond. As this miserable world isn’t perfect at all, and justice, dignity, cleanliness, authenticity, beauty, shame and balls in art and life usually bright with ausence, it never can be said something is, but sometimes it is possible to get that limit. All that is seen now in the vital vicissitude of a real man that other real men, with true mastery in what they do, tell you wrapped in a luxurious celuloid paper. So, when an existence of those seeming too marvellous to be true but of which there is a bunch –to redemption and admiration from and by the commonly grey human being-, is told in the way seen in CM, I can only think it should be, it should be perfect because all these elements of beauty and savoir faire in a creation of a movie, a book or whatever, exist and can be used and show with the taste and elegance the last Ron Howard’s signature is full. And it’s monopolized, absorbed, modulated, composed, filled, dominated, enlarged, armed and illuminated by Russell Crowe’s powerful bright and huge acting force -as he is doing it since the day we were allowed to see such a prodigy in the fantastic art of mixing emotions, reality and magic cinema is.His tender smiles, any of the movements of his body, shaped by that trademark willing, or any of his gestures of simpathy, fear, hope, pain, illusion, relieve, sadness, worry, agressivity or love brighten as it couldn’t be otherwise: plain, natural, as real as inmense, once again lending or losing them in a different identity. And as this magician’s got his innate tricks, he usually needs the best show, so anything around must try to shine. In this new movie, there is sound, light in a splendorous photography and colors that mark the different recreations giving it the bittersweet taste, dark but hopeful above all, this fabulous story exudes. And of course, the more than notorious actings, enlarged and gently shared by the leading but also restrained and humble work of this animal, this beast of an actor Crowe is. Then, thanks to this composition of images and angles, the accurate intersection of such an efective as beautiful and intense soundtrack, the audience point of view camera movements allowing you get in and be inside what you’re seeing, and to sum up, the combination of first class actors’ work in which, apart from Russell’s, fenomenal Paul Giamatti’s shines with supreme grace, this movie is the masterpiece professional reviewers have written so much and positively and lots of audiences have felt with the emotion invading me right now. And, to my opinion, if there is something that blurs what seems perfect, and because there must be something not in the expected or supposed finest grade, that would be the not well drawn or excessively deshumanized lines in Crag Bierko’s character who, on his part and with such a powerful phisical shape and temper, is the perfect guy to create that Jim Braddock’s nemesis; and also, in more than one occasions, there is the not well believed René Zellwegger’s acting in a face-to-face work with an actor which should have made her take out more than it’s seen. The rest of the casting hasn’t got a but: from that doll playing Rozy Braddock to her real daughter’s anecdotical and more than notorious acting, the efective Paddy Considine, all the perfect playings of the Father, the reporters (Russ, always pissed off by the press anywhere, mate...), the true figurants recreating a time marked by disaster and desperation, and boxing characters in general –with that nice and honoured presence of Angelo Dundee-. To end with the genial and personally admired Bruce McGill as that miserable boxing promoter without scruples. Well, everyone, from the docks manager, the Irish locals in the bar and the radio speaker to the last of the extras seem from the Thirties and look great. But, as I said before, the one who excells is Paul Giamatti in a superb construction full of tenderness, hope, expresivity, friendship and self giving in such a wonderful character as is Joe Gould’s for any first row actor. And Giamatti is. His acting in, for example, his conversations with Johnston, his faith and blind trust in that of Mae Braddock’s visit to his empty but full of pretendings apartment, as well as all and each one he shares with Crowe are absolutely masterful. All of them move you, enjoy you, make you shake and roar in the impressing and take-your-breath-out fights sequences. Or tear your heart up, as in that sublime moment which, if you are not a fish or a stone, must break your soul, when they both cross looks in the scene Jim Braddock, in the saddest humilliation of begging for his family to those who put him on the top, sees him and goes to him borrowing Crowe’s blessed eyes in tears as only an actor like Russell is able to fill with to express all the sorrow and desperation felt by a man only left with his dignity, as all those ones that hell of the Great Depression blew and destroyed, but also with his courage and honesty. And Jimmy Braddock, the true and unknown man for those who are profane of an incomprenhensible sport like boxing and much more of great American heroes like him, kept them all his life. That’s why I think there is not a drop of that pretended or suspected sentimentality expected from Ron Howard, old and smart dog, who has improved by far the succesful ABM formula allowing him to know and use the finest material because he has made a movie with a classic taste as in past times, like those we love as samples of good and true cinema full of beauty and great stories that delight senses and souls, giving you those apparently simple but also so grateful moments of happiness. So, as I wasn’t born in those golden years of cinema nor was I lucky to live in those wonderful actors’ times, I have to go on thinking and being grateful because there’ll be always good movies and great actors I do have the fortune to share existence, to be moved by their work and to be shaken by their passion and savoir faire in their work. Of movies like this one, I can’t express anything but
true gratitude. Of Russell, all is already said: Heaven give
you all the time in this life to get me so deeply and I don’t
stop thanking you for it, but, for God’s sake, do that
light comedy in France and don’t keep breaking my heart
and crashing my brain with such an intensity and overflowing
of feelings ‘cause I’ve already reached the top in
my passion for you. All the blessings for you, mate 9/16/05 - I have seen CM three times since it was released here in Spain last weekend, and I will see it again and again! It is a very good film and, although sad because of the Depression Era ,and hard to see due to the boxing scenes, I left the cinema with a very good feeling inside. The first time I saw it with my hubby, who likd it very much,too. Above all, Russell is the heart of this film ( once again!), he is so immensely talented here! He can be so humble, so tender, so apparently calm, so honest,and also so strong-determined!He never over-acts, he shows what is inside him with just a gaze, or a smile.And in the fighting scens he is very believable,too. I also liked Renée and Giamatti. It is a very interesting story! -- Thank you, virginiamanis 9/14/05 - I just saw Cinderella Man, here in Paris. Howard + Crowe = just amazing! René is magnificent, the whole film a true "chef d'oeuvre" and Russell is as usual breath taking! Bravo - Nathalie Houllier from Paris, France 9/12/05 - Still wet eyed from seeing C.M. at last and worn out from the fights, mostly seen through my fingers. He MUST get an Oscar for this amazing performance, even my husband teared up. It was a bloody, brutal, beautiful and bedazzling film, well worth the long wait. My only "but" is that the people's teeth were too good for that era, otherwise, perfection!! Happy, Jo-Anna Young, U.K. ****************************************** 9/11/05 - Cinderella Man is
a truly beautiful film. The cinematography was gorgeous in its
sepia tones. *********************************************** 9/11/05-
We went to see CM on its UK release on Friday 9th
September, despite some initial reservations as I do not like
watching boxing, the 'noble art', but I have to say that
this was the most enjoyable film we have seen for a long time
(since M&C) : another excellent story, powerfully depicted
and brilliantly performed. The teamwork of director, crew and
'spot on' casting made this truly memorable, the troubled times
of the 'Great Depression' the hardships and the inequalities were
depicted and observed with an incisive authenticity. **************************************** 9/9/05 - From budsbabe: Here is my review for inclusion in your European Cinderella man reviews page..... I saw the film for the second time tonight ( 9th September) in my local cinema - this was my first UK viewing (having only seen the film previously once before, in New York) and it took my breath away. Even though I knew the outcomes of the fights (such realistic fight scenes) I found myself clenching my knuckles until they were white! And I wasn't the only one flinching in the audience. Many of the folks in the theatre seemed to be ducking and weaving with the punches. (I was curious to see how the film would play to a Scottish audience - typically your "hard sell" crowd.) The "begging" scene with Braddock going (literally) cap in hand to the big-wigs at The Garden affected me more than it did first time I saw the movie. It's a heart-breaking performance by Russell and when his eyes teared up I felt mine doing likewise. Amazing that he can one minute, convince you that he is this proud, raw pugilist and the next, he is a broken, humiliated man..... if he doesn't get an Oscar nom for this one then life ain't fair. Paul Giamatti was excellent too as Joe Gould. He was a perfect foil to Russell's Braddock. I loved how he was eventually exposed as being the guy with a great big heart (rather than just your typical wide boy promoter on the make.) The scene where we see his fancy apartment..... with threadbare furnishings.... was quite emotional too. As to the audience in the theatre with me tonight, I was surprised at the amount of youngers folks (given the hype about this movie appealing to the older movie-going set). I would say there were more younger folks than over 50s at this screening (which was almost a full house.) A couple of young guys (aged maybe early 20s) were sitting behind me and I could hear then quietly cursing "ya ba$tard!" ) under their breath each time Braddock took a good hit in the Baer bout. LOL!! I'm quite looking forward to the DVD release of this movie. (Nothing whatsoever to do with freeze-frames and slo-mo's of that fine Braddock body, you understand - purely for the commentary!) ************************************************** 9/5/05 - From Amelie: I went to see 'Cinderella Man' at one of the screenings at the Beckenham Odeon on Saturday night. There were about 20 people in the auditorium; not that that was any reflection on the film just a reaction to the weather here which is terribly humid at the moment, and is putting people off from going out. Beckenham High Street is usually heaving on a Saturday night but there was hardly anyone around. For some reason there was a delay in the film starting, which may have been caused by the changeover from the film that was usually being shown, so there were no trailers or music. It got to the point where people were getting up to ask the staff if they were going to start the film. Over to my right were a group of four people; two of them women who I could hear saying that they weren't sure they wanted to watch a boxing film. Oh wonderful I thought, of which more later. The film eventually started and immediately sucked you in to the Braddocks' home life, a working class Irish-American family doing reasonably well. The segue from James Braddock putting away his crucifix on the dressing table in a nice comfortable bedroom, to picking up what was left a few years later from a bare cold room in a tenement could not have been more shocking, and was beautifully conveyed without labouring the point. The loss of the frame for their wedding photo was poignant. All the performances in the film were wonderful, but Russell and Paul Giamatti really stood out; the desperation of the times that brought out both the best and the worst in people was portrayed without being overly sentimental and worked very well. Johnstone and his cronies at Madison Square Garden insulting Jim with a few handfuls of change, after all he had done for their profits over the years and when he was clearly desperate enough to sacrifice his pride and beg for his children, was especially upsetting. When Jake stole a salami and Jim made him take it back and apologise, a part of me was hoping that the butcher would let the Braddocks have it anyway but I'm glad that Ron Howard chose not to do that as it would have been mawkish. The re-creation of 1930s New York and New Jersey was incredible; although I do think it was all a bit clean - the snow in the winter would have been dirty with people tramping through it, and from the pollution in the atmosphere. I was particularly impressed by Russell's New Jersey accent which held up well throughout the film, apart from one point in the fight with Baer when you can hear the genuine Australian - much more intimidating! For some reason I had it in my mind that Baer was German, with hindsight this was a confusion with Max Schmeling. The fight scenes were amazing; I was writhing in my seat and I could hear the other people in the cinema doing the same, and hissing and groaning with each punch given and taken. The contrast between them and Mae Braddock's determination to keep boxing out of her home was tremendous, and the spiky relationship between her and Joe Gould got one of the biggest laughs of the evening - until we all saw how the Goulds were living too. The scene that really made people laugh, partly in amused disbelief, was the priest installing his radio in the church. I could hear people saying "In the church?!". The only part of the film that didn't work for me was the character of Mike; this is no fault of Paddy Considine's who was quietly brilliant, but I didn't see the need for his character. I think Jim Braddock adequately conveyed the shocking poverty to which everyone had been reduced, without introducing an Everyman character. There could have been another way of showing The Hooverville and how appalling it must have been, and how desperate people were. I did like the discussion of FDR's attempts to ameliorate the impact of the Depression, which was a nicely observed scene, and the later mention of Jim Braddock serving in World War II as it was ultimately the war that ended the Depression rather than FDR's job creation programmes. Back to the women who weren't sure about watching a boxing film. As I was leaving I bumped into one of them and we had a brief chat; I asked her what she thought of the film. Her answer? "I thought it was great!". So did I. |
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