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Cuba, December 1958: The professional gambler Jack visits Havana to organize a big Poker game. On the ship he meets Roberta and falls in love with her. Shortly after they arrive in Cuba, ... See full summary »
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An unknown middle-aged batter named Roy Hobbs with a mysterious past appears out of nowhere to take a losing 1930s baseball team to the top of the league in this magical sports fantasy. With the aid of a bat cut from a lightning struck tree, Hobbs lives the fame he should have had earlier when, as a rising pitcher, he is inexplicably shot by a young woman. Written by
Keith Loh <email@example.com>
While the story is an adaptation of the book by Bernard Malamud the plot has been changed for movie to be more "uplifting". Several characters and symbols are heavily influenced by the writings of Homer and Greek mythology: - the line, "Have you ever read Homer?"
Roy Hobbs = Odysseus. He is trying to "find his way" [home]
Max Mercy = Vulcan, God of Fire and Forging. He can "make or break you" and is always seen in red or brown clothing.
Pop Fisher = Zeus, King of the Gods. His uniform is #1 and both the oak tree and lightning bolt a la the Wonderboy bat are his symbols.
The Judge = Hades, God of the Underworld. He is always in the dark a.k.a. death, and the dead are "judged" in the underworld.
Memo Paris = Kalypso, a sea nymph who had an affair with Odysseus and held/distracted him from returning home; Kalypso means "I will conceal" in Greek.
Gus Sands = the Cyclops. Gus has the one strange eye.
Iris Gaines = Penelope, wife of Odysseus. Roy's true love from whom he was separated for 20 years while she raised their son.
When Iris is reading the paper about Roy's slump, none of the headlines actually match the story being written about and seem totally unrelated to the headline. One example where the headline reads, "Knights at Wrigley Today," is actually about a polo tournament in Houston Texas. See more »
As a writer, I am often compelled to read the books on which my favorite movies are based. Since its original release, I have loved The Natural as one of my favorite movies of all time, but it was only recently that I read Bernard Malamud's novel on which the movie was based. I cannot tell you how disappointed I was.
Malamud was a great writer, and was best known for winning a Pulitzer and the National Book award for The Fixer. His award winning work usually dealt with themes closer to his own heart, and Malamud didn't seem to "get" baseball in this book. Either that, or he had some axe to grind about baseball, and wanted us to hate it and all the people involved in it.
The Natural was Malamud's first novel and, as such, it suffers from shallow, simplistic characters, a muddy, at times almost unintelligible plot, and poorly attenuated subplots that almost seem like afterthoughts or clumsy devices slathered on to shore up weak story objectives. He does, however, have a historical understanding of baseball, and most of the events related to baseball in this story are composites of everything from the Black Sox to Babe Ruth to Christie Matheson and a string of other legends.
The main character, Roy Hobbs, is almost certainly based on the real life character Eddie Waitkus, and Malamud does little to imbue him with likable traits that would deepen him as a literary character. He even throws in a little Joe Jackson to compromise the character even further. The fact that he is called "Roy" is an obvious allusion to Sir Thomas Malory's 15th century opus "Le Morte D'Arthur." (Recall that "roi" is French for "king.") Why Malamud chose this story as a model is a mystery, since although he goes to great lengths to reinforce the Aurthurian connection (the baseball team is called the "Knights", the bat, "Wonderboy" is obviously "Excalibur"), he creates little of the Arthurian heroism in Roy Hobbes, or, for that matter, the sport of baseball as an allegory for the jousting of Chivalric heroes.
The character of The Whammer, played in the movie beautifully, if all too briefly, by Joe Don Baker, is more Ruth than Ruth, but he's gone in a flash, leaving yet another heroic void in the original story. And the women in The Natural are shallow, conniving and cheap and I have never been able to understand Malamud's literary allusions with regard to Morgan LeFave and Guinnevere, the women in Arthur's life. The Bad Guys in the book are ALL Bad, everyone else is mostly neutral, and there isn't any real good, or anything uplifting or affirming or positive in the whole thing.
Thank god for the movie. Barry Levinson's direction is gilded and glowing, and the whole film has a luminous aura that seems magical and enchanted and, compared to the wooden novel from which it came, a satisfying recast of the Arthurian legend. The screenplay was done by Roger Towne, who recently gave us The Recruit, and the changes he made to the story make all the difference in the world; less literary, perhaps, but more beautiful and elegant and not nearly so cynical and pessimistic. Compared to the Levinson/Johnson magic, the novel is almost amateurish, and recalls Ayn Rand's facile characters and stories, didactic and pedantic, and almost completely obscuring the Arthurian magic that Levinson coaxes from the story.
Once, when I had the chance to mention personally to Mark Johnson how beautiful The Natural was, he responded with a sincere modesty that fit the innocent tone of the movie, and he even gave me a keepsake from the film that I have to this day as a reminder of just how amazing an achievement this movie was, coming from so flawed a novel.
This was the first movie in which I loved Redford. He was older and deeper as an actor, and this was the beginning of his real golden age. Glenn Close was delightfully virginal and beautiful as a character almost completely created by the screenwriter, not the novelist. Kim Basinger is gorgeous and dangerous as the femme fatal, a portrayal that she would echo in her Oscar winning turn in L.A. Confidential.
Randy Newman's brilliant score was recycled a dozen times in subsequent movies, but none captured the beauty and nostalgia of The Natural. There are only a handful of movies so magnificently driven by their score, and The Natural remains Newman's best and most satisfying work.
In short, this is the best baseball movie ever. Whereas Malamud wanted to show baseball as jaundiced and commercial, Towne's screenplay shows us the baseball we loved as kids, and more. Malamud's dark and wholly unsatisfying ending is also rewritten, and if you find the final scene a little sweet, ask yourself if you really wanted to see the dismal finale that Malamud supplied.
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