Cinderella Man
Reviews
Andres Gomez
The stereotypical sports movie about a character which goes from glory to hell and back to the glory again. The story is OK, but nothing new. Crowe performs well, but it is not one of his best movies. Giamatti is great, as always but Zellwegger is too cheesy in her role. Just an entertaining movie without any more intentions.
Peter McGinn
This is a fine boxing movie, one that relies more on the fighter’s personal story than endless scenes of boxing brutality. James Braddock’s final rise to the championship was an inspirational example during the lull in between the headline-grabbing reigns of Jack Dempsey and Joe Louis, when the heavyweight title changed hands several times. My only complaint with Ron Howard’s film was its portrayal of Max Baer, the champion Braddock defeated to win the title. For dramatic purposes, they changed his personality and made him into a bullying, vicious person, to the point of making a crude comment about Braddock’s wife. They needed a bad guy so they made one. I became interested in Max Baer when I was a teen and read a lot about him over the decades. He was fierce when he meant business in the ring, but mostly he was happy go liucky and didn’t love the fight game. As a side note, Max Baer’s son was also upset at seeing this man he didn’t recognize as his father (this was Max Baer Jr., Jethro Bodean from the Beverly Hillbillies). But what can you do — making changes is standard procedure for movies based on real events. They are often still worth watching. Just don’t use them for research for a school project, right?
CinemaSerf
Once Jim Braddock (Russell Crowe) breaks his hand in a fight, he discovers that his previously reasonably successful life in the ring has come to an end - and that puts him, wife “Mae” (Renée Zellweger) and their kids on skid row. He’s gone from making $8,000 from a fight to ferreting around the docks looking for work and taking state welfare funds so they can keep their children in their now electricity-free apartment. Then serendipity takes an hand as his former manager Joe Gould (Paul Giamatti) arranges a last-minute fight for him that might garner a meagre $250. It’s not a fight he’s expected to fare well in, but against the odds he triumphs and that enables Gould to engage with his former backer Jimmy Johnston (Bruce McGill) and that could, ultimately, lead to a world title tight fight against Max Baer (Craig Bierko). It’s a pretty savage indictment of urban American life in the 1930s and it also serves well at illustrating just how boxing so often proved the most appealing and available conduit for many an uneducated man to escape the poverty trap that would embrace not just him but his family, too. As to Braddock, his story also involves his close friend “Mike” (Paddy Considine) who embarks on a similar career path, only he has neither the skill nor the sense to make it work. For that, Braddock is especially fortunate to have Gould in his corner, a man who is less venal than many who would hire and fire at the drop of an hat. It’s the boxing action that really works well here, though, with Crowe putting heart and soul into a character that is designed to demonstrate fortitude and determination, sure, but also humanity and humility too. Giamatti steals the scenes, but Zellweger also contributes well as Ron Howard presents us with a poignant, violent and plausible story of a man motivated by family and friends who epitomised his own version of the pioneering spirit.
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