42

Directed by Brian Helgeland.

2013. Rated PG-13, 128 minutes.

Cast:

Chadwick Boseman

Harrison Ford

Nicole Beharie

Christopher Meloni

Andre Holland

Alan Tudyk

Lucas Black

Hamish Linklater

Ryan Merriman

T.R. Knight

John C. McGinley

Max Gail

The story of how Jackie Robinson became the first African-American to play Major League Baseball, as a member of the Brooklyn Dodgers in 1947, transcended the sports world as it was happening to become part of American history. He’s the most important sports figure of the twentieth century. Even if you think that statement is false, you’d have to agree he’s on the short list of possible candidates. With that in mind, 42 takes on the daunting task of telling a tale where everyone know the outcome.

We meet Jackie (Boseman) in 1945 while he’s playing Negro League Baseball for the Kansas City Monarchs. A quick incident at a gas station with a “whites only” restroom shows him as the type of guy who doesn’t take racism lying down. We also meet Branch Rickey (Ford), owner of the Brooklyn Dodgers. He’s looking for a man worthy of breaking baseball’s color barrier. He settles on Robinson even though those closest to him don’t think Jackie’s the right kind of guy. You should at least have a general idea of the rest. If not, just keep watching the movie.

Taken on its own terms, 42 is a fine movie. It does precisely what it wants to do, in the manner it wants to do it. We get a solid feeling of what our hero went through as he took the field more alone than any man ever had. His ordeal turns our stomach and we can’t help but root for him. Chadwick Boseman is good, if unspectacular, in the lead role. Far more impressive is his supporting cast. Of course, there’s Harrison Ford, just perfect as Branch Rickey. Nearly as good, in less flashier roles, are Nicole Beharie as Jackie’s wife Rachel and Andre Holland as reporter Wendell Smith. Smith is tasked with both chronicling Robinson’s journey and being somewhat of a personal assistant for the ballplayer. Others in the cast all shine when their time comes. Through their work and some adequate storytelling we hit some highs and lows en route to a welcome feel good story. The end. For most people.

For me, this is a very watchable, easily likable, but sorely lacking film. Most of my criticism is for what this movie isn’t. Maybe I’m being entirely unfair, but it’s not the Jackie Robinson story I wanted to see. This is 1947 visualized precisely as I’ve heard it, and read it, hundreds of times throughout the course of my life. The filmmakers play it far safer than Jackie himself ever did. For starters, it falls into the trap that nearly every telling of the story does. It’s not truly about the man. It’s about reactions. Somewhat, the reactions are his to whites, on an off the field, who felt compelled to shout epithets and/or put up obstacles to his success. Mostly, 42 is about white reaction to his presence. The movie also completely ignores the fact that a young black man named Larry Doby started his Major League career shortly after Robinson and dealt with the same garbage during the very same season. Then again, that part of the story almost always gets left out.

My biggest gripe is that the rest of our hero’s life is a story worth telling. This could easily have been a three plus hour epic going at least as far back as his days as a star athlete at UCLA, if not all the way to the beginning and going forward until his death. He did not just fade into oblivion once his playing days were over. In many ways, his baseball career was only the beginning of his public struggle for civil rights. The Jackie we get here is a fine conduit for our empathy, but much of that is due to our own sensibilities. The truth is that, as he is presented, he’s largely uninteresting. Giving us a fuller picture of the man would surely change that. As it stands, a movie focused on Branch Rickey, or Rachel Robinson, or Wendell Smith, could’ve accomplished the same thing with a more intriguing protagonist.

It probably sounds as if I don’t like 42 when that’s not the case. I enjoyed it quite a bit. It’s well put together and hits most of the right notes. I can nitpick the baseball scenes all day, but if you’re not an avid fan of the sport things are probably not bad enough to notice. I don’t even mind the totally fabricated finale. It’s a happy moment that fits so well into the movie that I can easily see why it was done. In the end, I had fun watching. I just want more than it’s willing to give me.

Shame

Directed by Steve McQueen.

2011. Rated NC-17, 101 minutes.
Cast:
Michael Fassbender
Carey Mulligan
James Badge Dale
Nicole Beharie
Lucy Walters
Hannah Ware
Elizabeth Masucci

Like a lot of bachelors, Brandon (Fassbender) sleeps and walks around his apartment in the nude and uses the bathroom with the door open. This is the opening scene and serves as your warning Shame is a movie that doesn’t pull any punches. We learn shortly hat he has a well-paying job, watches lots of porn and has hookers over from time to time. He also spends a few nights a week at bars with his boss David (Dale) who is constantly trying to pick up chicks. A little after that, we find out the woman pleading with Brandon on his answering machine is not some jilted lover, but his estranged sister Sissy (Mulligan). She suddenly re-enters his life without permission. Against his better judgment, he decides to let Sissy stay with him a while. From there we watch his life, and eventually hers, fall apart.

It becomes pretty clear that Brandon is a sex addict. This is eroding his ability to function as a normal member of society and carry on meaningful relationships. However, we wonder why all the disdain for his sister. He seems to see her as a free-loader who bounces in and out of his life, wreaking havoc as she does. However, there also appears to be more to it than that. The movie moves steadily down that path, intriguing us all along the way.

Unfortunately, the seams burst during the third act. It happens when Brandon suddenly isn’t able to perform. Why isn’t readily clear. Perhaps the lady he's with is too nice a girl. Maybe it’s because his attraction to her isn’t based on sex. Or maybe it’s because she’s a co-worker, or because she’s black, or because he doesn’t like her choice of underwear. Whatever it is, it needs further explanation because none of those ideas hold much water based on what follows. We immediately see Brandon go on a serious binge involving a bit of everything. I guess it brings us back to the meaningful relationship/nice girl line of reasoning. However, their encounter isn’t something that takes place while they appear to be falling in love or even considering each other as serious potential mates. It’s a spontaneous, mid-day, ‘let’s go do it’, type of thing a day or two after they’d only had their first date, a moderately successful but decidedly asexual event which didn’t even result in a goodnight kiss. The problem is compounded by what Sissy does. It’s something that positions itself as an impetus for something, but for what? I’ve said too much. I’ll stop before I get into serious spoilers.

Michael Fassbender is ceaselessly fascinating in the lead role. His work is nothing short of courageous as he exposes himself both physically and emotionally throughout. He ably conveys the fragile mind state of an addict. He doesn’t have to go it alone, either. Carey Mulligan is nearly as good in her role. Her portrayal is not quite as in your face as Fassbender’s but it’s even closer to the breaking point right from the start. She teeters the edge very well.

Shame is an interesting movie dealing with an addiction not often depicted on screen. Director Steve McQueen tells his story without flinching and manages to hold our attention even when everyone has their clothes on. The problem comes with the pivotal scene I mention above. It triggers a serious binge by Brandon but doesn’t make much sense within the context of the movie. It just hangs there, a giant loose end we can’t quite tie. We get a similar feeling about how Brandon escapes even the slightest consequences for his behavior and of the ending itself. I’m all for ambiguous conclusions but when the credits roll on this one the questions raised aren’t compelling, leaving us with a dissatisfied feeling even after we enjoy so much of it.

MY SCORE: 8/10