Natural, The (1984)
“You’ve got a gift, Roy — but it’s not enough; you’ve got to develop yourself.”
Synopsis: |
Genres, Themes, Actors, and Directors:
Response to Peary’s Review: … Redford is well-suited to play “Roy Hobbs, an innocent country boy who has… pitching talent” but is seduced “into taking the wayward path” by a “mysterious woman in black (Barbara Hershey)” (based on the bizarre real-life star-stalking of Eddie Waitkus by Ruth Ann Steinhagen). [POTENTIAL SPOILER ALERT] Peary argues that “in the early scenes this Barry Levinson-directed film brilliantly captures myth aspects of baseball prior to WWII, but then Levinson and Redford turn [the] picture into a schmaltzy fairytale.” He adds, “If you would have been happy if David O. Selznick decided to forget Margaret Mitchell and have Rhett stick it out with Scarlett, then you’ll accept these guys’ changing Malamud’s pessimistic ending” into a cheer-worthy one. He points out that “Redford had early screen success playing men who sold out their convictions (i.e., The Candidate, The Way We Were) and it seemed Hobbs’ character as Malamud wrote it was ready-made for him” — but apparently “everyone wants to be a hero, especially one who seems to be more than human.” Peary calls out the impressive atmosphere and “camera work by Caleb Deschanel” — and also notes the random distinction that Close’s character is viewed “as a symbol of purity even though she is an unwed mother.” While I’m not a diehard baseball fan like Peary — and also not invested in how closely this film hews to its source material — I can see how viewers at the time may have been disappointed by the significant shift in the ending. Personally, I was more puzzled by the ultimate intent of the storyline, which mixes random elements of mysticism and nostalgia like nobody’s business. The shooting early on is indeed confusing (it’s apparently not explained in the book, either); what’s most clear is that we’re meant to see what happens when an older-than-typical athlete with star potential decides to finally pursue some version of his original dream. Other than that, corruption is a massive theme throughout (villainous Prosky is literally filmed in the dark): … and the women in Hobbs’s life are either femme fatales (Hershey, Basinger) or earthly saints (Close). The biggest star of all, however, is Caleb Deschanel’s cinematography, which illuminates the period sets and actors with a gorgeous glow at all times. Note: Robert Duvall is essentially wasted in a bit role as a sports journalist who first watches Hobbs strike out “The Whammer” (Joe Don Baker, playing a Babe Ruth-like star), then pursues him for his story throughout the rest of the film. Notable Performances, Qualities, and Moments: Must See? Links: |
One thought on “Natural, The (1984)”
(Rewatch 12/5/20.) Not must-see. For baseball fans only; even some of those may lose interest.
Even though I’m not a baseball fan, I can still get pulled into such a film depending on the nature of the film’s drama. I know there are some I have more or less liked more than this one. For me, the first half here is better than the second; it has more energy. The second half takes us into a split between women (Close / Basinger) vying for Redford’s attention and behind-the-scenes intrigue. Both elements cause the film to take on a much slower rhythm – one which may cause a turn of interest for those whose focus is on the sport.
All told, it’s an ok flick; well-produced and reasonably well-acted. It does feel a little long and some of the writing could be sharper and a little less melodramatic.