PEOPLE PLAYING

PEOPLE PLAYING.

a pick six

by Hunter Jon

Hockey and golf. Those are the two sports I’ve watched with any kind of consistency throughout my life. Each can be explained away simply: 

Hockey? I’m Canadian.

Golf? My dad watches it.

This isn’t to say I follow either of these sports. I’ve just seen a lot of each played. Mostly in my peripherals, occasionally drifting directly into view. But I can say with certainty that more than actual sports, I’ve watched movies about them. Like a lot of people who don’t care for or follow sports, I love a good sports movie. Some reasons are obvious (there are few things as cinematic as that final game, if done right) and others remain a mystery.

Aaron Sorkin once said that when watching a bio-pic, you have to look at it as a painting rather than a photograph. He’s right, and you can exercise as much artistic license as you want when painting. So I’m not sure how ‘true’ these true stories are. But they’re all billed as such and that’s about as deep as I went.

Here are my six favourite true-life sports movies.

(I’ve included the appropriate amount of honourable mentions)

61* (2001)

It’s overflowing with heart yet never unbearably sappy. That’s a tricky balance to pull off, but Billy Crystal does it. His love of the game, specifically during this era, is as palpable as Cameron Crowe’s love of music in “Almost Famous”. I defy you to not get drawn in by his passion for this story and these men. And you don’t even have to know what baseball is to get invested here. At its core it’s a clean, clear comparison of character, which is irresistible to examine from every angle. Everyone at work here, cast and crew alike, does their job with a steady hand. Especially Pepper and Jane, who are at their absolute best.

However, none of this ever fully distracts from it all being a bit broad and undeniably paint-by-numbers.

HEART LIKE A WHEEL (1983)

At its worst, it’s a movie-of-the-week that can’t afford to show all the important races the characters keep referencing. At its best, it resembles an “Alice Doesn’t Live Here Anymore” era Scorsese picture.

I read somewhere that they originally wanted Jamie Lee Curtis for this role. Thank goodness that didn’t happen, because it gave way for the performance of Bonnie Bedelia’s career. She’s nothing but brilliant in this.

The scene where she does the call-in radio interview is so well executed and mighty fine storytelling.

And you get a little Dick Miller, which is good for the soul.

RAGING BULL (1980)

I like it. Honest, I do. I just don’t love it.

SEABISCUIT (2003)

Certain period pieces decide to carry an aesthetic and tone of the time they take place. This movie feels like it’s straight out of the era it depicts. Earnest. Wholesome. Schmaltzy. Anywhere else these would be faults. Here, they are strengths. This is thanks to what a solid storyteller Ross is.

He and his casting director assembled a fantastic cast. A trio of leads at the peak of their powers surrounded by solid supporting players. Mainly Elizabeth Banks, who stands out in a really striking way; makes one hell of an impression with very little screen-time.

Thank goodness this one was made when it was, because Ross (and his team) would have half the budget if he tried to do this now. Every penny’s on the screen in a wonderful way. This was a time when CGI was used sparingly to stitch things together only when absolutely necessary, not to create the whole world.

It’s a technical and emotional achievement that introduced me to a true story I was entirely unfamiliar with. Good, good, good.

I, TONYA (2017)

These kinds of movies rarely colour outside the lines. They usually sit safely in the box. This leaps out of it and scribbles up a storm, bending the genre in the process. It’s punk rock moviemaking applied to a seriously unlikely subject, so, despite being just another underdog sports story, it feels extremely fresh. This might also be because the movie has nothing to do with figure skating at all. It rightfully rewrites a little bit of history, revealing a villain to be a victim. Whatever version of the truth you believe, you’ve gotta admire the noble intentions at work here. It’s kind of beautiful how ugly this story is. And I can’t go without praising Robbie, who changed people’s perception of Tonya and herself with this landmark performance.

SOMEBODY UP THERE LIKES ME (1956)

This movie had issues and solved them. It was supposed to be a big Technicolor picture starring James Dean. When he died, the solution was to slash the budget and take a chance on a guy named Paul Newman, whose only other movie had been a flop. Robert Wise was told to shoot in black & white using studio sets for all interior scenes. He thought they looked cheap. His solution was to make nearly all interior scenes take place at night. It works. And the on-location stuff he and his crew captured is extraordinary, especially that iconic shot of Newman walking through the market place. Then there's the biggest challenge - not making Graziano seem like an asshole and a bum. Talented direction, writing and performance solve this quickly. You don’t get to “Raging Bull” or “Rocky” without this movie - and not just because of the boxing. People often site “The Sopranos” as the first TV show to star a true anti-hero; a flawed, vile character who you’re rooting for. Well, movies like this, and its portrayal of Rocky, paved the way on the big screen.

But a movie shouldn’t be measured by the technical or narrative obstacles it overcomes. It has to stand alone. And this does. Wise is in full command here, in-camera editing but allowing room or a Cassavetes-like spontaneity that keeps you on the edge of your seat.

Rest in peace, Pier Angeli. Her big eyes and heart soar here. (If you like her and by chance haven’t seen “Teresa” - see it.)

WITHOUT LIMITS (1998)

To say I have fond memories of watching this as a child with my old man doesn’t quite do those memories justice. He has a profound love for this movie (he’s a runner himself) which he passed down to me. It’s a piece of art that is essential to our relationship as father and son. Those are rare and should be cherished, so I do just that. But it’s not on this list for nostalgia’s sake - no one’s more delighted at how well this movie holds up than I.

It’s my second favourite Billy Crudup performance but the first that I saw.

Every once in a blue moon a movie is elevated by comparison. There is another Prefontaine movie, called, well, “Prefontaine”. It only makes me appreciate this one all the more. Aside from a superior quality of filmmaking, I believe this one benefits from a more honest portrayal of Pre. By introducing him as a stubborn know-it-all who sleeps around, there’s room for him to grow both professionally and personally. That’s called an arc, and makes for a better story.

“To give anything less than your best is to sacrifice the gift.”

- Steve Prefontaine

A LEAGUE OF THEIR OWN (1992)

If you ask me, this is one of the most enjoyable movies you’ll ever seen. Marshall always brought a little situation comedy strength to her pictures. (Gee, I wonder where she honed those skills?) And once the stage is set, it’s a freight train of fun. So much so that you forget you’re in the middle of a very important history lesson.

This is a massive movie. So many threads to follow. So much story to tell. The fact that it’s not an absolute mess is a triumph. And every member of the large ensemble is given their moment to shine. Everyone, behind camera and in front, knocks it out of the park. Ohp - pun!

Thanks for this one, Penny.

REMEMBER THE TITANS (2000)

Two true-sports stories were monumental movies of my youth. One was “Ali” and the other was this. They both had a profound effect on me at ten and eleven years old. I will always remember both fondly and forever be indebted to them for how they opened my eyes. Sadly, I find one of these movies just doesn’t hold up. Whereas, in my eyes, the other just keeps getting better with age.

I could spend all day praising this, but instead I’ll just give it one crucial compliment: it pulls off a few contradictory magic tricks. It manages to effortlessly balance two perspectives: that of its movie-star lead and of its ensemble of youngsters. One minute it’s deadly serious and the next laugh-out-loud funny, all while maintaining a consistent tone. It flawlessly flip-flops back and forth from its pitch-perfect use of classic pop/rock songs and its incredibly rousing & moving original score. This results in one of my favourite soundtracks ever. It’s as great a study of character as it is the times.

And its montage (what would a sports movie be without one?) focuses on the strength of camaraderie rather than muscle-building.

For me, it offers a little bit of everything you could ask for in a Hollywood picture, all wrapped up in a fast-paced, wildly entertaining and accessible package. This is grandiose, four-quadrant moviemaking at its absolute best.

Left side, strong side.