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Editorial Reviews
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Clint Eastwood's 25th film as a director, Million Dollar Baby stands proudly with Unforgiven and Mystic River as the masterwork of a great American filmmaker. In an age of bloated spectacle and computer-generated effects extravaganzas, Eastwood turns an elegant screenplay by Paul Haggis (adapted from the book Rope Burns: Stories From the Corner by F.X. Toole, a pseudonym for veteran boxing manager Jerry Boyd) into a simple, humanitarian example of classical filmmaking, as deeply felt in its heart-wrenching emotions as it is streamlined in its character-driven storytelling. In the course of developing powerful bonds between "white-trash" Missouri waitress and aspiring boxer Maggie Fitzgerald (Hilary Swank), her grizzled, reluctant trainer Frankie Dunn (Eastwood), and Frankie's best friend and training-gym partner Eddie "Scrap-Iron" Dupris (Morgan Freeman), 74-year-old Eastwood mines gold from each and every character, resulting in stellar work from his well-chosen cast. Containing deep reserves of love, loss, and the universal desire for something better in hard-scrabble lives, Million Dollar Baby emerged, quietly and gracefully, as one of the most acclaimed films of 2004, released just in time to earn an abundance of year-end accolades, all of them well-deserved. --Jeff Shannon
From The New Yorker
Much of Clint Eastwood's evocative and poetic boxing movie is set in the Hit Pit, a moldy, sweat-stained downtown Los Angeles gym in which crusty veterans train a few serious fighters and many hapless punks. Scrap (Morgan Freeman), an ex-fighter with one functioning eye, works at the gym and exchanges affectionately nasty remarks with the owner, one Frankie Dunn (Eastwood). Against his better judgment, Frankie agrees to take on a tough country woman, Maggie Fitzgerald (Hilary Swank), who, not entirely to our surprise, rapidly becomes the hottest fighter in the sordid but lucrative world of women's boxing. The story, adapted by Paul Haggis from F. X. Toole's collection, "Rope Burns," is borderline trite, but the movie has the sweet melancholy of a great jazz piece. -David Denby
Copyright © 2006 The New Yorker
Clint Eastwood's 25th film as a director, Million Dollar Baby stands proudly with Unforgiven and Mystic River as the masterwork of a great American filmmaker. In an age of bloated spectacle and computer-generated effects extravaganzas, Eastwood turns an elegant screenplay by Paul Haggis (adapted from the book Rope Burns: Stories From the Corner by F.X. Toole, a pseudonym for veteran boxing manager Jerry Boyd) into a simple, humanitarian example of classical filmmaking, as deeply felt in its heart-wrenching emotions as it is streamlined in its character-driven storytelling. In the course of developing powerful bonds between "white-trash" Missouri waitress and aspiring boxer Maggie Fitzgerald (Hilary Swank), her grizzled, reluctant trainer Frankie Dunn (Eastwood), and Frankie's best friend and training-gym partner Eddie "Scrap-Iron" Dupris (Morgan Freeman), 74-year-old Eastwood mines gold from each and every character, resulting in stellar work from his well-chosen cast. Containing deep reserves of love, loss, and the universal desire for something better in hard-scrabble lives, Million Dollar Baby emerged, quietly and gracefully, as one of the most acclaimed films of 2004, released just in time to earn an abundance of year-end accolades, all of them well-deserved. --Jeff Shannon
From The New Yorker
Much of Clint Eastwood's evocative and poetic boxing movie is set in the Hit Pit, a moldy, sweat-stained downtown Los Angeles gym in which crusty veterans train a few serious fighters and many hapless punks. Scrap (Morgan Freeman), an ex-fighter with one functioning eye, works at the gym and exchanges affectionately nasty remarks with the owner, one Frankie Dunn (Eastwood). Against his better judgment, Frankie agrees to take on a tough country woman, Maggie Fitzgerald (Hilary Swank), who, not entirely to our surprise, rapidly becomes the hottest fighter in the sordid but lucrative world of women's boxing. The story, adapted by Paul Haggis from F. X. Toole's collection, "Rope Burns," is borderline trite, but the movie has the sweet melancholy of a great jazz piece. -David Denby
Copyright © 2006 The New Yorker
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