Erik is expelled from school for fighting. He ends up at a private boarding school where the senior students control the young ones. Erik finds a friend in Pierre, his room mate. The story ... See full summary »
Up-and-coming sports reporter rescues a homeless man ("Champ") only to discover that he is, in fact, a boxing legend believed to have passed away. What begins as an opportunity to resurrect Champ's story and escape the shadow of his father's success becomes a personal journey as the ambitious reporter reexamines his own life and his relationship with his family.
Samuel L. Jackson,
Frankie Dunn has trained and managed some incredible fighters during a lifetime spent in the ring. The most important lesson he teaches his boxers is the one that rules life: above all, always protect yourself. In the wake of a painful estrangement from his daughter, Frankie has been unwilling to let himself get close to anyone for a very long time. His only friend, Scrap, an ex-boxer who looks after Frankie's gym, knows that beneath his gruff exterior is a man who has been seeking, for the past 25 years, the forgiveness that somehow continues to elude him. Then Maggie Fitzgerald walks into his gym... Written by
Anjelica Huston originally brought the book "Rope Burns" to producer Albert S. Ruddy's attention, hoping that he would ask her to direct the film. (She guaranteed that he would cry after reading the "Million Dollar Baby" story, and he admits that he did.) However, by the time Ruddy acquired the rights, Huston was busy on another project. See more »
When Maggie is sparring at the gym before her first fight, Frankie calls her over to talk. Her ponytail changes position from down her back to over her shoulder between front and back shots. See more »
Eddie Scrap-Iron Dupris:
Only ever met one man I wouldn't wanna fight. When I met him he was already the best cut man in the business. Started training and managing in the sixties, but never lost his gift.
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There are no opening credits after the title is shown. See more »
Flawlessly written, acted and directed, MILLION DOLLAR BABY is being hymned and wreathed by the critics as the best film of 2004. They're absolutely right. "An old master's new masterpiece," the NEW YORK TIMES said in a review that was more of an open love letter to Eastwood than anything remotely resembling a critical analysis of the film itself. For once such honey-tongued critical adulation is fully merited. Dark, edgy, subtle and at times emotionally devastating, MILLION DOLLAR BABY represents the apotheosis of Eastwood's art - the most lucid and intelligently limned expression of his philosophy of the outsider, the noble loners whose personal codes of honour set them both above and apart from the compromised, corrupt societies they inhabit. The Boxing Ring As Metaphor For Life is a hoary trope almost as old as Hollywood itself, employed to varying effect in films as diverse as THE CHAMP, GOLDEN BOY, REQUIEM FOR A HEAVYWEIGHT, THE GREAT WHITE HOPE, FAT CITY, ROCKY and RAGING BULL. In MILLION DOLLAR BABY, though, Eastwood the director brings a fresh eye and an entirely fresh approach to both the setting and characterisations, virtually re-inventing this venerable sub-genre rather than simply recycling its conventions. Eastwood the actor is in fine form - a commanding if increasingly weather-beaten presence - as gym owner Frankie Dunn. A case study in loneliness, Dunn's creased face is a map of places you'd rather not go to and disappointment has clearly been a life-long companion. Co-stars Hilary Swank and the magnificent Morgan Freeman, playing Frankie's unlikely protegee Maggie Fitzgerald and friend "Scrap-Iron" Dupris, give what are without question the best performances of their respective careers: deftly underplayed, their roles provide emotionally overwhelming impacts more powerful than anything glimpsed in the film's riotous fight sequences. Forming an iron triangle forged from mutual dependence, Dunn and Dupris school the impulsive but untutored Maggie in both the techniques of boxing and the tradecraft of survival in a world pre-disposed to pulverise individualism. The canvas-floored square ring becomes the arena in which all three characters confront their various demons, battling for both victory and personal redemption. Paul Haggis' screenplay is itself a masterwork, improving on its source material without betraying the concise but compelling situations and superbly drawn characters found in F.X. Toole's short stories. And, finally, Eastwood the composer's elegiac but unobtrusive score is a minor classic of its kind, a requiem to both lost souls and lost causes. MILLION DOLLAR BABY is not only the best film released in 2004 it is also the most fully realised and richly textured major studio movie of the decade.
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