A good man worth cheering for

Rating: 8/10 (23 December 2005)

I'm not a fan of boxing as a sport or boxing movies in general. In fact, the only boxing movies I've seen before this one were Rocky and When We Were Kings, both of which had a large "Cinderella" factor. Unsurprisingly, I was inclined to see this movie for the same factor. Cinderella Man did not disappoint, and it has appeal beyond the comeback story.
The movie viscerally connects the audience with the desperation of many Depression-era families, mainly by contrasting Braddock's continuing simplicity and decency with the tragedy of the times. Americans have always preferred to believe that that individual effort is the key to success, and that adverse forces blocking one's progress are just a fact of life. Braddock fits squarely into this mold. As the first rumblings of unionization stirred in the '30s, it never occurs to Braddock that the capitalistic system is to blame for Depression. As one co-worker from the docks rails against the "big guys," insisting that workers have to organize, Braddock looks at him skeptically and asks, "Organize against what -- bad luck? Greed? Drought?" While other couples send their kids they can no longer support to live with relatives, Braddock is fierce in his insistence on keeping his family together. Even though the family doesn't have enough to eat, Braddock makes his son return a salami that he stole to feed the family, and Braddock applies for public assistance only as a last resort. Crowe has perfected the portrayal of decency through several of his roles (The Insider, Gladiator, and even Master and Commander), and his humility always comes across as sincere and believable.
The other great characterization is that of Joe Gould. Giammati plays him perfectly: motor-mouth charm, a marketer's brashness. He comes across as slightly larger than life, but never descending into caricature. In their interactions, the normally taciturn Braddock reflects Gould's looseness, rendering Braddock much more sympathetic. In fact, in their scenes together, it's Gould, and not Braddock who dominates. Giammati also believably conveys Gould's touches of humanity throughout, especially in relation to his concern for Braddock and his family. When Gould gets excited as Braddock stages his comeback, it's clear that he's truly happy for Braddock as well as for himself.
Boxing matches, of course, form the centerpiece of the movie, and they're quite well done and graphic. If you're squeamish, hold someone's hand as the blows fly, heads snap back from impact, sweat drips, and blood dribbles out of noses and mouths. The images of wife and family that flash through Braddock's mind on screen, though, are heavy-handed reminders of why Braddock is fighting so ferociously.
The only real disappointment is the lack of development of Braddock's wife, Mae. The script simply doesn't give her much to do, and Zellweiger doesn't squeeze out more than the script requires.
Braddock's story is the real-life Rocky, and if you liked the latter, you'll like the former. The Depression was an era when people desperately needed heroes, and Braddock is still worth cheering for today.