A Pugilist's Parable

CINDERELLA MAN (2005)

A PUGILIST‘S PARABLE

Many boxing films are reputed to be “based on the truth”—based on the lives and careers of real fighters. We have watched Robert De Niro as Jake La Mota in RAGING BULL (1980)—Mohammad Ali playing Cassius Clay and his later persona in THE GREATEST (1977)—with Will Smith playing him in ALI (2001)—Paul Newman playing Rocky Graziano in SOMEBODY UP THERE LIKES ME (1956)—Tony Lo Bianco as MARCIANO (1979), and Jon Favereau as ROCKY MARCIANO in 1999—Coley Wallace in THE JOE LOUIS STORY (1953), James Earl Jones as Jack Johnson in THE GREAT WHITE HOPE (1970), and Treat Williams as DEMPSEY (1983)—and more, many more—all with elements of truth melded with artistic license.

Juxtaposed to these—we have the stalwart champions of fiction—Sly Stallone as the Italian Stallion—ROCKY Balboa—with Kirk Douglas clenching his teeth and his fists in CHAMPION (1949)—Robert Ryan in THE SET-UP (1949)—with both Jack Palance (on Playhouse 90 in 1957) and Anthony Quinn (film in 1962) in great versions of REQUIEM FOR A HEAVYWEIGHT. Boxing films can, when they are good, present great drama. CINDERELLA MAN meets that criterion.

It is based the “true story”—the career—of James J. Braddock—whose actual name was James Walter Braddock—but was mostly called just Jim.
Jim Braddock was the actual Heavyweight Champion of the World from 1935-1937—holding it for just slightly more than one year. Joe Louis held the title for over 12 years—longer than any other champ. Braddock was an outstanding amateur—and a power-punching middleweight—whose fragile hands put him in jeopardy on a regular basis. He was reputed to be a tough kid though—and he wasn’t afraid to fight hurt. Before he broke his right hand, he was undefeated in his first 39 professional fights.

As the story—the legend—goes, he turned pro in 1926—and did quite well until 1929. He was fighting while injured and he had made several poor investments—having no real business sense [reminiscent of that scene in ROCKY I, after Balboa has won the championship. A shyster friend approached him and advised him to spend some of his new found wealth in condominiums. “Condominiums?” Rocky asked,” I don’t think so. I never
2.

use them.”]—and Braddock’s fortune was wiped out by early 1930. Finally, he was so broken up and disheartened—the crowd began to boo him out of the ring. His manager, Joe Gould, couldn’t book him any more fights. Power promoter, Jimmy Johnston—angry at Braddock for being “washed-up”—revoked his boxing license—and he was forced to retire. He, and his broken right hand, began to work on the docks in Hoboken [the location for the filming of ON THE WATERFRONT (1954).] Braddock had to favor his right hand, and work mostly with his left hand. Ultimately this served him well later as he developed a treacherous left hook and jab. In New Jersey, he had to move his small family from the clean suburbs to a cold-water flat. His children began to know hunger. Jobs on the docks were not consistent. He went weeks without pay. Finally he was reduced to asking for handouts from his old friends and acquaintances—and worst of all, he had to apply for and accept Relief—had to “go on the dole”. [Later after his return to boxing, he repaid the government, with interest, every penny they had given him and his family.] He was on the verge of having to let his children stay with other relatives—when Joe Gould came to him with an incredible offer.

Braddock was being offered a fight—for $250.00 cash. At the last minute, they couldn’t find an opponent to fight John “Corn” Griffin. There was only one week to the fight—and there would be no real time for training. Braddock jumped at the chance—understanding that the Boxing Commission was offering him only a one-shot deal. Working on the docks had hardened his muscles. The Depression had presented him with hunger and humiliation—and sharpened his resolve. He didn’t feel sorry for himself. He was the luckiest guy in the world. His children would not have to leave home, and there would be plenty to eat—no matter how the bout turned out. So he returned to the ring and he began winning. The promoters and the crowds did not recognize this “new” Jim Braddock. Damon Runyan dubbed him “The Cinderella Man”—and the moniker stuck. Actually, there was a 1917 silent film, based on a stage play, entitled THE CINDERELLA MAN. So perhaps Runyan “borrowed” the name.

To everyone’s surprise, and Joe Gould’s delight—Braddock beat Corn Griffin. So they decided to let him fight the very tough John Henry Lewis—who had handed him a terrific beating and another loss in 1932. But Jim Braddock, the Bergen brawler, beat Lewis too. So the powers that be scheduled him to fight Art Lasky. Braddock chewed him up and suddenly
3.

Big Jim had leveled the playing field—and miraculously he had very quickly earned a legitimate shot at the title—a chance to fight Max Baer, the murderous playboy. It was like a story out of Aesop’s Fables. The smart money held the line with Braddock as 20 to 1 odds to lose to Baer—who had actually killed two other fighters in the ring. Braddock stood toe to toe with the giant Baer—lasting all 15 rounds—and emerged the fairy tale winner—the new Heavyweight Champion of the World! What a story! What a movie! And you know—some of it was true.

Actually, the truth was only slightly less dramatic—tinged with some smart deals set up by Joe Gould and a lot of politics and exhibitions after he won the title. It seems that he never “lost his license” to box in 1930. He, in fact, continued to box every year in the interim between 1929 and 1934—when he fought Max Baer. Now, who knows what kind of purses he collected—or not—but one thing is certain--while working part-time on the Hoboken docks, he definitely augmented his meager income with regular professional fights. So—he was not coming to the Baer fight without stepping into a ring for several years. That does not diminish his accomplishments—but it does show that the truth is duller than fiction.

Looking at J.J. Braddock’s actual fight career—we get a peek at “the rest of the story.” In the beginning—he was dubbed “The Bulldog of Bergen”.

1926: He had 16 fights—winning all of them—10 of them by knockout (KO).
1927: He had 17 fights—winning 11 of them—4 by KO—and 6 were ND (No Decision or a Draw).
1928: He had 9 fights—with 5 wins—2 by KO—with 2 ND—and his first 2 losses--2° to his broken right hand.
1929: He had 9 fights—5 wins—3 by KO—and 4 losses, one of them to Maxie Rosenbloom, and one to Tommy Loughran, who was the World Light Heavyweight Champion.
1930: He had 6 fights—2 wins—1 by KO—1 ND—and 3 losses.
1931: He had 7 fights—2 wins—1 by KO—2 ND—and 3 losses.
1932: He had 8 fights—2 wins—with 6 losses, one of them to John Henry Lewis in San Francisco.
1933: He had 9 fights—4 wins—1 ND—and 4 losses.

4.

[So before his “comeback” in 1934—he had had 30 fights—winning only 10 of them—losing 16 of them. So, yes—all the earmarks of being “washed-up” were evident. In reality, when he started on that comeback trail--it had only been a few months since his last bout.]
1934: He beat John “Corn” Griffin with a TKO in the 3rd round.
On November 11th, he beat John Henry Lewis in the 10th round.
1935: He made the cover of RING Magazine (February), and was dubbed “The Cinderella Man”.
On March 22nd, he beat Art Lasky in NYC—going all 15 rounds with him.
On June 13th, he fought the tiger—Max Baer in Long Island City. He went all 15 rounds with him, and emerged the victor—the new Heavyweight Champion of the World.
After winning the title, Braddock only fought 7 three-round exhibition fights with Jack McCarty—just light sparring matches really. Joe Gould suddenly realized that the public would pay hard cash just to “see” Braddock. It wasn’t necessary for him to actually defend his title—not at first.
1936: Braddock spent most of the year posturing and politicking—and enjoying his fame. He was supposed to fight Max Schmeling—but he called it off when he injured his right hand in training.
On December 12, 1936, the New York State Athletic Commission ruled, after a hearing,” This Commission forbids James J. Braddock from engaging in a bout of any length against Joe Louis before he defends his title against Max Schmeling.” Schmeling had already been knocked out by Joe Louis in the 12th round of their June bout.
1937: Jim Braddock was “supposed” to fight Max Schmeling on June 3rd—but at the last moment he “chose” to fight Joe Louis. Of course, though, he could not fight him at Madison Square Garden in NYC. So he fought Joe Louis on June 22, 1937—in front of 60,000 screaming fans t Comisky Park in Chicago. Braddock was pumped. He knocked Louis down in the first round, and the middle rounds were a slug fest. I read where Braddock, during that fight, was on arthritic pain meds—that his lethal left hand and arm were numb from the muscle relaxant. But Joe Gould was looking out for his fighter. Somehow, he cut a deal whereby Braddock—if he lost the title—would receive 10% of Joe Louis’ gross for the next ten years. Joe Louis knocked Jim Braddock out in the 8th round—and became the most esteemed Heavyweight Champ in history. From 1937-39 the Brown Bomber paid Braddock about $150,000 dollars—worth about 2 million in today’s cash.
1938: Braddock had 1 fight—beating Tommy Farr—and then he retired.
5.

1939-1941: He did some exhibition fights and some refereeing.
1964: He was elected to the RING Boxing Hall of Fame.
1969: He appeared as himself, doing a cameo with Ali in THE GREATEST. He was inducted into the New Jersey Boxing Hall of Fame.
He died in 1974.
2001: He was abducted into the International Boxing Hall of Fame.

Max Baer was quite a colorful fighter—but actually he only retained the heavyweight crown for one day less than a year. He knocked out Primo Carnera in 1934 on June 14th [my birthday]—and the lost the title to Braddock on June 13th [David Gilmour’s birthday] 1935. His love for the night life and the ladies, and his total disdain for training may have cost him the Braddock fight. In terms of his sledgehammer punches and his natural ferocity and height advantage (6’4”)—he never should have lost that fight. It reminded me of how Ingmar Johannson had partied with the ladies for a full year—and then took the beating of his life from Floyd Patterson—who was lean and hungry and had been training. Patterson became the first boxer to regain the heavyweight crown. I felt at the time—since Patterson had beat Johannson in the Olympics years earlier—that his loss of the title and his subsequent regaining of it—rang false. Perhaps vast amounts of money changed hands somewhere—do you think?

Yes, that was Max Baer’s son who played Jethro on the BEVERLY HILLBILLIES. Max Sr. had appeared in THE PRIZEFIGHTER AND THE LADY in 1933. He was in AFRICA SCREAMS (1949)—with Abbott and Costello. In 1956, he had cameos in both THE HARDER THEY FALL, and REQUIEM FOR A HEAVYWEIGHT. By 1957 he was doing television roles—like THE LONE RANGER. He died at age 50 of a massive heart attack.

Buddy Baer was his younger brother—who also was a formidable professional heavyweight boxer. He stood 6’5” tall—and he had a 50-7 record, with 43 knockouts. He fought Joe Louis twice. He was knocked out in the first round of their rematch. He retired after that and became an “actor”. He was in QUO VADIS (1951), and 20 other films. On television—he played mostly the heavies, the villains—wrestling with the likes of big boys James Arness, Clint Walker, and Chuck Conners.

6.

CINDERELLA MAN was supposed to have been directed by Lasse Hallstrom. Later—Penny Marshall was supposed to direct it. Think of how the tone of the film might have changed if she had directed it. That would have been interesting to see the choices she would have made. It was just another of those marvelous maybes in Hollywood—like how ONE-EYED JACKS might have turned out if Stanley Kubrick had finished directing it—of how JAWS would have turned out with the original casting choices—Charlton Heston and Robert Redford. Penny Marshall did stay connected to the project. She is credited as one of the producers.

Then Ron Howard stepped up—and became the “actual” Director. He said,” You know—it has always been my dream to be a director. A lot of it had to do with controlling my own destiny—because as a young actor you feel at everyone’s disposal. But I wanted to be a leader in the business. I have always been interested in the Depression—as this very dramatic period in American history. There is something inherently tough about Americans. They will not accept defeat. The astronauts in APOLLO 13 would not give up. John Nash in A BEAUTIFUL MIND would not give up—or give in to mental illness. And Jim Braddock would not surrender to poverty.”

Howard loves to cast his family members in his films. In CINDERELLA MAN, his brother Clint was the referee for the Baer fight, and his father, Lance, was the ring announcer. At age 15, he was already working with a Super-8 camera—much like Steven Spielberg and Robert Rodriguez had done. In 1969 he directed his first film—and 8 minute Western called OLD PAINT. It starred his father, Rance Howard—his mother, Jean Speegle—his little brother, Clint—and his sister Cheryl. Also in 1969, he filmed a short silent film, DEED OF DARING-DO with his sister Cheryl. He capped that significant year with CARDS, CADS, GUNS, GORE, AND DEATH (1969)—a 2 minute film starring Clint. Then he waited nine years, until he 24 years old in 1977 to direct his first feature film—GRAND THEFT AUTO.

Ron Howard—once the red-haired freckle-faced child actor called Ronny
[He still has the freckles and some of the red hair]—is now 51. He was born into an acting family. His first professional job was in FRONTIER WOMAN (1956), when he was 18 months old. His first speaking part, when he was four years old, was in THE JOURNEY (1958)—with Yul Brynner
7.

and Jason Robards. Before he was in kindergarten—he had appeared on several PLAYHOUSE 90’s. In 1960, when he was 6 years old—he was cast as Opie on THE ANDY GRIFFITH SHOW (1960-68). In 1974 he became Richie Cunningham on HAPPY DAYS (1974-80). Staying extremely busy—in addition to starring in his two series—he guest starred on 76 other television episodes. He did TWILIGHT ZONE (1959)—was a semi-regular on DENNIS THE MENACE (1960)—did a ROUTE 66 (1962), THE FUGITIVE (1964), GUNSMOKE (1969), LASSIE (1970), BONANZA (1972), M.A.S.H. (1973), and THE WALTONS (1974).

As an actor in films he had 36 appearances. He was young Winthrop Paroo in THE MUSIC MAN (1962)—with Robert Preston. He was teenage Steve in AMERICAN GRAFFITI (1973)—paving the way for HAPPY DAYS (1974). I like him as Les in THE SPIKES GANG (1974)—with Lee Marvin. His best film role was as Gillom Rogers in THE SHOOTIST—with John Wayne and Lauren Bacall. He won a Golden Globe nomination for that one. In the early 80’s, to help finance his directing projects, he appeared in a couple TV movies—like FIRE ON THE MOUNTAIN (1981)—with Buddy Ebsen. He has done cameos in his own films as well—but hasn’t done so for years. He seems to be happy now just providing work for his brother, Clint—his father, Rance—his sister, Cheryl—and his daughter, Bryce—who was wonderful recently starring in THE VILLAGE (2004).

In 1976, in order to launch his feature film directing career—he cut a deal with Roger Corman. For Corman, he starred in the Drive-In fare, EAT MY DUST (1976). Oddly, as red-necked lame as it was—it seemed to pave the way in hot rubber for the TV series THE DUKES OF HAZZARD (1979-85)—that God forbid is being remade as a feature film this summer. In return, Corman financed and produced Ron Howard’s writing and directing debut, GRAND THEFT AUTO (1977). To save a couple bucks, Howard starred in it too. He has directed 25 films since 1977. NIGHT SHIFT (1982)—with his pal Henry Winkler and Michael Keaton—was his first semi-hit. SPLASH (1985)—with Tom Hanks—was a bigger hit—launching Hanks as a major star. COCOON (1985) began to show his potential. I have always loved WILLOW (1988). It was so audacious and original. As a fantasy film, it was much superior to Ridley Scott’s LEGEND (1985)—with Tom Cruise. BACKDRAFT (1991)—with Kurt Russell and Robert De Niro—is another one of my favorites. It bolstered our respect for firemen,
8.

pre-9/11, and helped pave the way for Denis Leary’s fantastic new firefighter television series, RESCUE ME. I tried to like FAR AND AWAY (1992)—with Tom Cruise and Nicole Kidman—but somehow have not quite managed it. The film just never comes together—perhaps a victim of bad editing. APOLLO 13 (1995) put him in the “serious director” category. It opened in IMAX and Oscar loved it. A BEAUTIFUL MIND (2001)—likewise churned up Oscar mania. THE MISSING (2003)—for me—was a powerful Western—with one of Tommy Lee Jones’ best performances in it. And now CINDERELLA MAN is in theaters—and it should generate more Academy accolades for him. For the future—he is putting the finishing touches on the remake of EAST OF EDEN, and creating a film of THE DA VINCI CODE. Howard has directed six actors into Oscar nominated performances—Don Ameche, Dianne Wiest, Ed Harris, Kathleen Quinlen, Russell Crowe, and Jennifer Connelly—only Ameche and Connelly won.

Ron Howard married his high school sweetheart, Cheryl, in 1975—just before he launched his directing career. They have four kids. [His sister’s name is Cheryl as well. Is this situation the shades of Richie Cunningham on acid?] He attended high school with Rene Russo too. Wouldn’t that have been a pairing? In 2003 he received the United States National Medal of the Arts.

Robert Koehler of VARIETY wrote,” CINDERELLA MAN is an exquisite ode to a working class hero. It takes the almost impossibly perfect elements of the saga of underdog boxer—James J. Braddock—and fills it with emotional avitas—wrenching danger—and a panoramic sense of American life during the Great Depression. A BEAUTIFUL MIND seems but a warm-up to this main event—in which helmer, Ron Howard, grasps the full measure of artistry he has often reached for—and gifted thespian, Russell Crowe, limns a role he seems born to play.
Howard exhibits a loving understanding of the Warner’s raw 1930’s films of desperate working class lives and hard scrabble heroes—and of the whole boxing genre—from CHAMPION to RAGING BULL. Despite it’s seemingly simplistic outline of a can-do spirit triumphing during the Depression—this film plumbs the angry depths that Howard had sounded in his tough, under-appreciated Western, THE MISSING—and only hinted at before.”

9.

David Edelstein of SLATE wrote,” For all I know, Ron Howard is a nasty SOB—but it’s doubtful. In public—he’s still Opie. He manipulates audiences without guile—jerking tears—piling on catastrophes—smoothing out dissonances—making bad characters badder—and good ones gooder. At what he does—he is peerless. I wish I had more respect for what he does—and for myself the next morning for surrendering to it.”

Peter Travers of ROLLING STONE wrote,” Ron Howard believes in America. His faith in the whole package of democratic ideals and family values--smoothes out the obvious wrinkles in his films. This is one of those times. Not only is CINDERELLA MAN Howard’s best film—it is also his most personal and deeply felt. He gives the film the resonant power of myth—taking his lead from Edmond O’Brien’s line in John Ford’s 1962 Western, THE MAN WHO SHOT LIBERTY VALANCE—
“When the legend becomes fact—print the legend.”

Edith Alderette of the San Francisco EXAMINER wrote,” CINDERELLA MAN, aka PUNCH DRUNK SCHMALTZ, is a signature Ron Howard piece. It is a superbly shot, big budget Hollywood feel-good fable—that has less substance than schmaltz. It is little more than easily digested junk food film-making—which doesn’t make it bad—just lacking in nutritional value.”

Music for the film was composed by Thomas Newman. [Howard has used James Horner for many of his other films.] Newman has written 80 film scores since 1978—including GUNG HO (1986) for Howard—MEN DON’T LEAVE (1990)—FRIED GREEN TOMATOES (1991)—Robert Altman’s THE PLAYER (1992)—THE SHAWSHANK REDEMPTION (1994)—a beautifully lyrical score for PHENOMENON in 1996—THE HORSE WHISPERER (1998)—AMERICAN BEAUTY (1999)—THE GREEN MILE (1999)—and that stirring haunting score for Mike Nichol’s HBO version of ANGELS IN AMERICA (2003).

The cinematography was done by the very talented Salvatore Totino—who has been head lenser on only 5 films. He worked with Howard on THE MISSING (2003), this film, and now the DA VINCI CODE—to be released in 2006. He came up through the ranks shooting television commercials for VW, Volvo, and American Express. He uses Cooke 54 prime lenses. He invented a tire-cam—which is a camera cushioned inside a rubber tire and
10.

behind Plexiglas. So the pro boxers could actually hit and pound on the tire—and create realistic reactions for the first person POV shots.

Peter Travers wrote,” The film was lit with a poet’s eye by camera whiz Salvatore Totino. [Like when the power was off in the Braddock cold water flat and the scene was expertly lit by candlelight.] In Howard’s recreation of Madison Square Garden—you could almost get a whiff of the smoke and sweat.”

The lilting dialogue for the film was created by two writers—Cliff Hollingsworth and Akiva Goldman. Hollingsworth has only written one other film—TOO GOOD TO BE TRUE (1997). Goldman has been a producer and writer on 13 films since 1994—including THE CLIENT (1994)—two of the BATMAN sequels in 1995 & 1997—Howard’s A BEAUTIFUL MIND (2001), and I, ROBOT (2004). Presently, he too is working with Howard on THE DA VINCI CODE (2006).

Russell Crowe played Jim Braddock. This is one of his best performances. For my movie bucks—this is the fourth major role of his career. First there was Officer Wendell “Bud” White in LA CONFIDENTIAL (1997)—followed by Dr. Jeffrey Wigand in THE INSIDER (1999)—and then John Nash in A BEAUTIFUL MIND (2001). Of course he never won the Oscar for any of those roles—rather the Academy gave him one for playing Maximus in GLADIATOR (2000)—in a role he was very good in, but not exceptional—walking in the shadows of Victor Mature and Kirk Douglas. His portrayal of James J. Braddock had it all—toughness, tenderness, vulnerability, kindness, sadness, pride, loyalty, decency, grace, and the underdog status. Considering the rough edges that Crowe has demonstrated to the public in his private life—it was wonderful to witness this side of his very complex nature.

Roger Ebert of the CHICAGO SUN TIMES wrote,” I was happy to come in cold—so that I could be astonished by Crowe’s performance. He, nor anyone else, has played such a “nice” man as this boxer—Jim Braddock. You have to go back to actors like Jimmy Stewart and Spencer Tracy to find such goodness and gentleness. Today—perhaps Tom Hanks could handle the assignment—but do you see any of them as a prizefighter? Tracy—maybe.”

11.

Robert Koehler of VARIETY wrote,” [In that scene in the Social Club where he had to beg for change to buy milk and electricity.] Crowe’s eyes have never seemed so full of unspoken sadness and ferocity—with his body language ranging from spent hopelessness to a single-minded coiled muscle—preparing to strike.”

Edith Alderette of the San Francisco EXAMINER wrote further,” Russell Crowe turns in an acceptable—but lukewarm performance—spending more time with his signature brooding look than actually finding the heart of Braddock’s desperation.” Miss Edith—please sit corrected. Crowe not only found the heart of Jim Braddock—he inhabited it—and at several points in the picture pulled it out of his aching chest and placed it pounding in our outstretched hands.

David Edelstein of SLATE added,” Russell Crowe—what a mesmerizing dude he had become. In every performance—his physique, posture, and rhythms change. His Braddock is tender—with a lop-sided grin—appraising eyes—and a head with a slight bobble.”

Peter Travers wrote,” Russell Crowe is jaw-dropping good—a movie star with a true actor’s subtlety and grace. He’d rather face fighters than endure poverty. “At least then I can see what I’m fighting.” Crowe lets us in to Braddock’s secret heart.”

Crowe weighed in at 228 when he played Captain Jack Aubrey in MASTER AND COMMANDER (2003). He trained hard to play Braddock—losing 50 pounds—to get down to a trim 176 pounds. He trained so hard that he dislocated his shoulder. This injury delayed shooting for two months. Ron Howard created genuine fireworks in the ring—using real pro boxers. He used Art Binkowski to play Corn Griffin—Troy Amos Ross to play John Henry Lewis—and Mark Simmons to play Art Lasky—all to take on the formidable Crowe. But often—they could not seem to pull their punches, and ended up injuring Crowe. He sustained several concussions and cracked teeth.

Roger Ebert wrote further,” Crowe played Braddock as level-headed, sweet-tempered—and concerned about his family above all. Perhaps it takes a
12.

tough guy like Crowe to make Braddock’s goodness so believable. At a press conference, Braddocks said that he fought,” In order to be able to buy milk for my family.” Jim Braddock is almost transparent in the simple goodness of his character—that must have been nearly impossible to play. Russell Crowe makes him fascinating—and it takes a moment or two of thought to appreciate how difficult that must have been.”

I think Crowe lets us see that even pride can be more of a virtue than a flaw. In that scene where his family is almost starving—his oldest son has stolen a salami—and Braddock walks with his boy to the butcher’s to return the salami and make an apology—we can only sit in awe of Braddock’s calmness with his son—just a compassionate and gentle chiding—showering the boy with genuine love. It would have been understandable if Braddock would have lost his temper—to have shown a chink in his armor. That moment was almost too “ah shucks” for me—like a moment between Andy Hardy and his dad the judge—or a scene with Robert Young from FATHER KNOWS BEST—or even Fred MacMurray in MY THREE SONS. Do real Dads stay that calm, focused, and loving? Well—we are asked to believe that Braddock did—despite the stress he was under.

Crowe has had 26 film appearances since 1988. He was dangerous and hateful as Hando in ROMPER STOMPER (1992)—a sleeper New Zealand film—insipid as Cort in THE QUICK AND THE DEAD (1995)—cast at the insistence of Sharon Stone—brilliant as Sid 6.7 in VIRTOUSITY (1995)—brutally good as Bud White in LA CONFIDENTIAL (1999)—painfully vulnerable as Jeff Wigand in THE INSIDER (1999) –pumped up as the mighty Maximus in GLADIATOR (2000)—and tortured as John Nash in A BEAUTIFUL MIND (2001). There is already a buzz in Hollywood about him being nominated for playing Braddock.

He was born into films—the son of movie caterers. At home his nickname is Rusty. He dropped out of high school and decided to be a rockabilly star—sporting a tall pompadour hairdo. He dubbed himself—Russ Le Roq. He still sometimes plays in a rock group he calls 30 ODD FOOT OF GRUNTS. They have performed on THE TONIGHT SHOW with Jay Leno. They did a sellout concert in Austin, TX in 2001. I wonder if director Robert Rodriguez attended. At one point, Crowe attended NIDA—the National Institute of Dramatic Arts in Sydney. As an actor he started out by doing a lot of live
13.

theater in Australia. He was in a production of ROCKY HORROR—and he received a lot of notoriety for playing the title role in BAD JOHNNY & THE PROPHETS OF DOOM in 1989. Presently he owns a 560 acre farm in Queensland—a couple hundred miles NE of Sydney. After his Oscar win for GLADIATOR—he and some mates took a 4,000 mile motorcycle ride around Australia.

He met his spouse, Danielle Spencer, when they were making THE CROSSING (1990). For a year he dated Meg Ryan—whom he met while filming PROOF OF LIFE (2000). He is good friends with Nicole Kidman and Jodie Foster. He turned down the role of Logan/Wolverine in X-MEN (2000). After a 13 year “relationship”—he married Spencer in 2003, and they have one son. Crowe shares a birthday [April 7th] with Jackie Chan. He, and his group, released a C/D—album, MY HAND, MY HEART in 2005. In terms of his salaries—he received 5 million to do GLADIATOR in 2000—and he brought in 20 million for MASTER AND COMMANDER in 2003.

Crowe was quoted as saying,” I’d only move to Los Angeles if Australia and New Zealand were completely swallowed by a tidal wave—if there was a bubonic plague in Europe—and the entire continent of Africa disappeared after a Martian attack.”
He added,” I’d like just once to play a passionate woman—but no one will let me.”

Renee Zellweger played Mae Braddock—the compassionate, supportive, yet frightened wife. I thought she made some interesting choices, but overall the role was underwritten. She was not given enough to do— or enough time to do it. Even so—she might be nominated for Best Supporting Actress just for being a part of this powerhouse of a picture.

Edith Alderette wrote,” Early on, CINDERELLA MAN feels a bit false—as if everyone’s only going through the motions of setting up the story. Even the most impassioned arguments between Braddock and his wife lack fire and heat—and never have the tragic times of the Depression felt more like a movie set.”


14.

David Edelstein added,” Zellweger’s Mae is less inventive. She has a twittery—trembly voice—a primly set mouth—and eyes so squinched they almost vanish into her pink dumpling cheeks. Even so—as an actress, her sincerity shines through.”

Mae Braddock: Every time you get hit—feels like I’m getting hit too. Maybe I understand some, about having to fight. So you just remember who you are—you’re the Bulldog of Bergen, and the Pride of New Jersey. You’re everybody’s hope—and the kid’s hero—and you are the champion of my heart, James J. Braddock.

Zellweger was born in Texas, and her friends call her Zelly. She has had 29 film appearances since 1992. Her first film was REALITY BITES (1994). She was Gina in EMPIRE RECORDS (1995)—Dorothy in JERRY MAGUIRE (1996)—delivering that memorable line,” You had me at hello.”—Ellen in ONE TRUE THING (1998)—with Meryl Streep. She became like the modern Doris Day in NURSE BETTY (2000). She was brilliant in BRIDGET JONES DIARY (2001). She was nominated for an Oscar as Roxie Hart in CHICAGO (2002)—and won an Oscar as Miss Ruby in COLD MOUNTAIN (2003).

She is good friends with Matthew McConaughey—having made one of those dreadful TEXAS CHAINSAW MASSACRE sequels with him. He asked her to co-star with him in LOVE AND A .45 (1994). When she was cast in JERRY MAGUIRE—she beat out Cameron Diaz, Marisa Tomei, Bridget Fonda, and Winona Ryder. She dated Jim Carrey for a time after they filmed ME, MYSELF, & IRENE in 2000. She puts on 20+ pounds when she plays Bridget Jones. She claims that she likes filling out her bras better, but dislikes how big her butt becomes. With virtually no vocal or dance training—she learned to perform for CHICAGO by watching her co-star—Catherine Zeta-Jones. Then she buckled down and trained for a grueling ten months on dance and voice—to rise to professional standards.

She met her new husband, Kenny Chesney—the country singer—in January 2005, while both were involved at a tsunami relief benefit. Their no-frills wedding only lasted 15 minutes. He wore his Cowboy hat. She received her star on the Hollywood Walk of Fame in May 2005. In many ways she is still in awe of her own success. She said,” I see my Oscar there in my bedroom—
15.

and it still seems unreal—like I bought it in a souvenir shop along Hollywood Boulevard.” Her salary for BRIDGET JONES DIARY (2000) was 3.75 million. She made 11 million to do the sequel last year.

The terrifically versatile Paul Giamatti played manager Joe Gould—probably infusing more humanity into the character than existed in real life. His Gould understood the name of the game (money)—and it wasn’t “pugilism”. He certainly knew how to create a buck—but he also revealed a very compassionate decent side to his nature. In the scene in the Boxing Social Club—when Braddock reduced himself to asking for a handout—we see Gould eating lunch—dressed to the nines—and one feels acutely the painful schism between those who retained their wealth during the Depression—and those 14 million other people who were without jobs, bread and milk. Only later—when Mae Braddock decided to visit Gould in his uptown apartment—was it revealed that he was only maintaining a façade—playing the game. He, too, was nearly broke. How much of that scene was Hollywood whimsy and how much actual fact—is hard to say. But as an emotional lever---prepping the audience for the fairy tale twist relating to Braddock’s hard-charging comeback, and Gould riding on the coattails of same—it works like crazy.

Giamatti will surely garner another Oscar nomination for this part—and this time he might win it. He was astonishing good in the part. Roger Ebert wrote,” Giamatti as Joe Gould smacked a third home run—after AMERICAN SPLENDOR (2003), and SIDEWAYS (2004).” Edith Alderette wrote further,” Paul Giamatti ,as Joe Gould, found a quiet tender desperation beneath his mouthy exterior—in ways you which Crowe had.” And David Edelstein wrote,” Paul Giamatti is a knockout—with a wonderful jabbering attack that lets him weave in tout of Crowe’s more delicate candences. It is a great matching—and both actors triumph.”

Gould: I got you another fight.
Braddock: Ha,ha—go to hell.
Gould: They are offering 250 bucks.
Braddock: For 250 dollars I would fight your wife!
Gould: Now you’re dreaming.
Braddock: --and your grandmother—at the same time.
Gould: Teeth in or teeth out?
16.

Braddock: Take ‘em out!
Gould: Then you’re dead, you’re down, you’re gone—no chance!
Braddock: Two hundred and fifty bucks?
Gould: 250 bananas!
Braddock: [rushes to hug him] Oh—Joey!

Craig Berko played Max Baer—and he did so superbly. His Max Baer was handsome, huge, foppish, and dangerous. The way he handled himself in the ring—one believed that he was capable of beating a man to death. In the night club scene—where he taunted Braddock and made sexist comments about Mae Braddock—Crowe’s eyes simmered and his fists clenched—but somehow he kept his cool. [Quite a contrast to the way modern heavyweights take punches at each other in press conferences.] When Baer appealed to Braddock to consider dropping out of the fight—Berko gave us a moment where his eyes almost seemed sincere.

Max Baer: It’s no joke, pal. People die in fairy tales all the time.

Berko gained a lot of bulk and muscle while training to play Max Baer. He and Baer were both 6’4” tall. This has to be considered a breakthrough role for him. He might sweep some awards himself—perhaps a Golden Globe—a SAG award—or the New York Critic’s Award. He deserves it.

Berko has done a lot of musical theatre and comedic roles. Like Hugh Jackman—he is a song and dance man who can also muscle up for the macho roles. He has had 21 film appearances since 1990. He was good playing three parts in THE THIRTEENTH FLOOR (1999). He was originally cast to play Chandler in FRIENDS—but turned it down. He was nominated for a Tony—starring as Prof. Harold Hill in the Broadway revival of THE MUSIC MAN. This must have given director Ron Howard a chuckle—having appeared with Robert Preston in the film version. Berko is good friends with Helen Hunt.

The talented Bruce McGill played parasite promoter, Jimmy Johnston—the hard-hearted heavy of the piece. He was very convincing as a minor baron in the Depression feudal system. One critic called McGill’s Johnston,” A cruel chill immaculately dressed capitalist pig.” He is a very busy character actor—kind of an Edmond O’Brien type. He has appeared in 81 films since
17.

1977. He was in ANIMAL HOUSE (1978). He was Mace in SILKWOOD (1983). He stood out in COURAGE UNDER FIRE (1999). I really enjoyed him as hardball lawyer Ron Motley in THE INSIDER (1999). He was Judge Harkin in RUNAWAY JURY (2003).

James Berardinelli of REEL VIEWS wrote,” This is 2005’s SEABISCIUT—an inspirational adult drama thrown into theaters in the midst of the summer’s blockbusters. As counter-programming—it may be successful—but as pure entertainment—it’s on the bubble. It lands a few solid punches—but never achieves anything close to a knockout.” Edith Alderette added,” CINDERELLA MAN is by no means a bad film—just a little bit lightweight—and too reliant upon melodramatic tritisms than true grit.”

Kim Linekin of EYES WEEKLY wrote,” Director Ron Howard sure loves to milk a tear—but it’s a shame that he has no ideas about how to shoot boxing. Despite pinching everything from silent movies to CSI—the ring scenes get old fast—no surprises. And don’t be fooled by all the Oscar talk. CINERELLA MAN is solidly made—but boy is it square!”

Roger Ebert disagreed as he wrote further,” When Braddock fought Max Baer—you see Crowe, Ron Howard, Craig Berko, cinematographer Salvatore Totino, and editors Daniel Hanley and Mike Hill—all step into a ring already populated by the ghosts of countless movie fights—memorably those in RAGING BULL, MILLION DOLLAR BABY, and the ROCKY movies. Its closest connection is to MILLION DOLLAR BABY—also a film about a fighter whose deepest motivation is fear of poverty.

The visual strategy of the big fight is direct and brutal—but it depends not so much on the technical depiction of boxing as on the development of the emotional duel going on in the ring.”

It also is a dramatic film that featured boxing—not just a boxing movie. Most martial arts movies are like musicals—the dramatic plot is less important than the music—and so the plot is often silly. Slug fests like the five ROCKYS, PENITENTIARY (1979) and its two sequels—that spawned UNDISPUTED (2002) with Wesley Snipes—is more about the fights and less about the characters. That is only acceptable if all the viewer seeks are
18.

the vicarious thrills provided by the celluloid violence. But what a joy it is when the plot matters—and we are allowed to know more about, and care about, the characters. That is probably why I enjoyed UNLEASHED (2005) so much. Jet Li provided the necessary roughness—the balladic kung fu and head bashing—but he also was allowed to “act” with the likes of Bob Hoskins and Morgan Freeman.

Roger Ebert summarized with,” CINDERELLA MAN is a terrific boxing picture—but there’s no great need for another one. The more significant need if fills is for a full-length portrait of a good man. Most serious movies live in a world of cynicism and irony—and most good-hearted characters live in bad movies. Here is a movie where a good man prevails in a world where every day is an invitation to despair—where resentment would seem fully justified—where doing the right thing seems almost gratuitous—because nobody is looking—and nobody cares.”

I really liked this film. I consider it Ron Howard’s best directorial effort—and possibly Russell Crowe’s finest performance in a film. It resonates with truth and beats with a great and tender heart. They don’t make prize fighters—and they don’t make many men like James J. Braddock any more—and they don’t make enough films like this one. Assaulted by the likes of WAR OF THE WORLDS & MR. AND MRS. SMITH—we still can take a deep breath and respond strongly to the positive qualities of this film. Ronny—Rusty—and Zelly—you done good! I would rate this film at 4.5 stars.

Glenn Buttkus (2005)