The Wake

The plot has been done and redone since the dawn of time: down-on-his-luck protagonist triumphs over adversity, inspiring those around him or her. I went into Cinderella Man expecting just another ho-hum retelling of this theme with boxing as the backdrop (see Rocky, Rocky II, Rocky III, etc.). Saying I was pleasantly surprised is like saying boxer James Braddock (or Russell Crowe, who plays him in the film) would probably beat me in a fistfight.

The film begins in the early 1920s with Braddock in his prime, entertaining crowds and making money. Soon the story jumps to the 30s, with James and wife Mae (Renee Zellweger) now fighting financially to keep their children fed and housed. Braddock works the docks by day and boxes at night. Despite his solid work ethic (such as finishing a match with a broken arm), Braddock’s boxing license is revoked when his fights cease to be entertaining. Even in these troubled times, he holds fast to his values. In one heart-wrenching scene, the fighter goes back to the boxing promoters he once fought for to beg for enough money to keep his children with him. Later, when the chance for a comeback rolls his way, Crowe’s character is willing to risk his life and livelihood for his family. While it may sound melodramatic, it comes off about as soft as a right hook to the jaw.

Regardless of the message, I find it difficult to relate with a character that takes physical beatings and fights others for riches and fame. I’m not saying Rocky was an evil dude, just that to me he didn’t seem to have his priorities straight. James Braddock, however, I can understand. I’ve never seen a film that so effectively captures the desperation of The Great Depression. In a reversal of expectations, director Ron Howard provides the grit while Russell Crowe’s performance maintains the hopeful spirit of the film.

The weakness of Cinderella Man is the way it flippantly contrasts other characters with Braddock. One of the dockworkers hints at being a communist sympathizer. This seems to be an attempt to make Braddock’s hard working ethic that much more appealing. The union supporter also drinks and yells at his wife, something Braddock would never do. That, however, seemed to be the character’s only purpose: to make Braddock seem that much better, like a bridesmaid in an ugly dress.

Less forgivable is the film’s depiction of heavyweight champ Max Baer. Baer is portrayed as a rich playboy in his personal life and a stone cold killer in the ring. What’s only hinted at is how much of a likable clown Baer actually was. Though he did cause at least one man’s death during a match, Baer was traumatized by the event and lost four of his next six bouts.

Despite a less-than-badass title (even Million Dollar Baby sounds cooler), Cinderella Man throws some solid punches, in the ring and on the emotions. While it can’t hope to dethrone Raging Bull as the champ of boxing films, I feel safe calling Cinderella Man the most compelling boxing story I’ve ever seen.