Strikingly traditionalist

Rating: 10/10 (27 February 2019)

The overall structure of this film and the characterization of Braddock is straight forwardly traditionalist. Whether it is Braddock returning the relief money, or him trying to save a friend from his dangerous leftist ways the film strikes the notes of family, faith, and classic Americana. Likewise, the plotting of promise, fall, redemption and victory conform to what is expected of a sports drama in a pleasantly straightforward way. Of note, Baer is characterized as everything Braddock isn't-he's an arrogant playboy with a sadistic streak. It adds up to a comforting underdog story that is especially resonant during times of economic toughness. This film would have been a bigger hit if it was released a few years later.
The real strength of the film is Howard's direction. He pushes the visuals into noir-ish moody lighting and color scheme that fits the story rather well. The fights themselves are quite good; the editing flourishes of incorporating subjective POV, memory and (seeming) archival footage provide good uniqueness to them. The film's look does a great job of balance the hope and despair of the story and the depression.
Crowe is engaging here. Solid and sturdy he is daddylicious in the role. But the real standout is Giamatti as Joe. Funny and wise in the ways of the world he provides much needed acidic tenor to dull the sweet edges of the underdog story. I had forgotten just how violent Joe is. Giamatti has turned in better performances but this is a very good role for the character actor.
Good film. It is Seabiscuit if Seabiscuit was a boxer.