Six minutes too long.

Rating: Null/10 (12 August 2003)

I found "Seabiscuit" to be a simple, endearing little tale whose sweetness and sincerity compensates for its questionable plotline. The film would have faired well to included a small little epilogue stating Seabiscuit's impressive record (he one 33 races) and when he passed away. I would have also been interested to see what happened to Red Pollard.
I enjoyed the performances in this film, especially Chris Cooper's. Cooper, who plays an aging cowboy/horsewhisperer bealleaguered by the rapidly industrialized landscape of the early 1900s, delivers a charming account of a scrupulous, decent man, whose expertise on horse racing is based almost purely on instinct and faith. Tobey Maguire displays great versatility in his role as jockey Red Pollard. In what may be considered a demanding role, Macguire deftly shifts his emotional makeup during different stages of Red Pollard's life, showing a gradual erosion of Pollard's embittered rage as his relationship with Seabiscuit and Charles develops. Perhaps what is most amazing is that both Macguire and Cooper actually develop a chemistry with the horse who plays Seabiscuit, which shows just how souful and verstaile both actors can be. Jeff Bridges delivers a fairly "Tucker by Numbers" performance, which fits well with his role as the risk-friendly, benevolent entrepreneur Charles Howard.
Gary Ross is to be commended for making several painstaking efforts to make the race scenes in "Seabiscuit" appear to be to envigorating, energetic, and most important, genuine to both the spirit of the film and the sport of horseracing. Indeed, the race scenes are the best part of the movie; however, these scenes would not be so enthralling if it were not for the tapestry of fine performances and endearing dialogue that surround them. What distinguishes"Seabiscuit" from most other sports films is that the film's success does not so heavily depend on the subject sport.
I award the film *** 1/2 (out of four) only because I disagree with Ross's usage of black-and-white Great Depression scenes throughout the film. Ross should have been confident with the simple and beautiful story itself, without painting such a overtly broad stroke of Americana across the film; this technique, ironically, took away from some of the more unique, subtle depictions of the beauty of the American dream that the film otherwise amply portrayed.