List: Gilmore’s Best Baseball Films

Posted on April 4, 2008 at 9:21 am

My friend Hoppy Gillmore of Fargo’s Froggy 99.9 has posted his list of the all-time best baseball movies, one for each inning. Here’s his list, with some comments from me in italics.
9. The Bad News Bears
Anyone who played Little League ball has lived this movie. Thanks Coach Flieth for spending your summers on the diamond with us!
I know people love this one, but it is not on my list. I’m all for anti-hero movies that subvert the usual underdog formulas, but hearing kids use bad language and seeing adults misbehave in front of them just isn’t that funny.
8. The Sandlot
If you ever played neighborhood ball as a kid you’ve lived this movie as well. For me it was the empty lot next to Paul and Mitch Heinen’s house in Hillsboro.
I love this movie — it’s my DVD pick of the week!
7. A League of Their Own
“There’s no crying in baseball!” I never knew about this piece of baseball history until I saw the movie.
There may be no crying in baseball (one of my favorite lines ever), but I cry in the last scene of this movie every time I watch. Ignore the sibling rivalry theme and enjoy the love of the game and the brilliant performances from everyone — Tom Hanks, Geena Davis, Bill Pullman, Madonna, and Rosie O’Donnell.
6. For Love of the Game
This one’s good for women too because there’s a love story built into the story of baseball. Even my wife will sit down and watch this one.
Agreed!
5. Major League
“Juuuuust a bit outside!” According to Chris Coste’s new book, The 33-Year-Old Rookie (http://www.chriscoste.com/) this could be a very accurate portrayal of minor league ball.
Silly fun, and I love it when they play “Wild Thing.” (But stay away from the sequel.)
4. 61*
Yeah, I’m a homer. Billy Crystal’s tribute to who will ALWAYS be the single-season home run king.
Terrific movie.
3. The Natural
One of the first baseball movies I remember watching. Who wouldn’t want to run the bases under a shower of sparks from the home run ball you hit that went into the lights?
Love this one, too. Parental note: some mature material.
2. Field of Dreams
“If you build it, they will come.” The father-son playing catch at the end brings back memories of my dad and I doing the same thing whenever he’d grill. In-between flipping burgers we’d play catch.
This is a movie that makes grown men cry. Touching and inspiring.
1. Bull Durham
Kevin Costner’s “Crash Davis” spews the best baseball philosophy around. He’s the Yoda of baseball.
One of the great, great grown-up love stories ever put on film — love of baseball as well as romantic love. And I get a kick out of knowing that this is where Susan Sarandon and Tim Robbins became a real-life couple!

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Leatherheads

Posted on April 3, 2008 at 6:00 pm

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for brief strong language.
Profanity:	A few bad words
Alcohol/ Drugs:	Drinking, drunkenness, speakeasies, smoking, drinking and smoking by a child
Violence/ Scariness:	Fighting, peril, suicide attempt, brief non-explicit wartime battle scene
Diversity Issues:	Integrated team, strong female character
Date Released to Theaters:	April 4, 2008

Like the 1925 ragtag professional football team it follows, this movie has more high spirits than ability to deliver.

George Clooney directs and stars in this affectionate tribute to 1920’s “professional” football and 1930’s movie comedies, but it it captures more of the letter than the (high) spirit of the rat-a-tat-tat dialogue and ebullient effervescence of those Turner Classic Movie channel-worthy gems. It is entertaining without being especially memorable.

Clooney plays Dodge Connelly, a player on a failing team in a failing league. In 1925, football was a college sport. Cheering crowds filled college stadiums while professional football was disorganized on and off the field — or cow pasture, as the case might be. Dodge decides to recruit the top college player, Carter Rutherford (John Krasinski of The Office), who is not only a football hero but a real American WWI hero as well. Carter agrees to leave school because Dodge guarantees him a ton of money and because he is very happy to have a chance to keep playing. He is guided on this by his agent, CC Frazier (suitably, if silkily, satanic Jonathan Pryce), a character who raises the intriguing Jerry Maguire-ish question of whether pro sports would have been created without pressure from pro agents.

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Movies -- format Sports

Remembering Jules Dassin

Posted on April 3, 2008 at 8:00 am

Writer/director Jules Dassin died this week at age 96. He is perhaps most fondly remembered as a key figure in establishing the genres of film noir (Naked City) and the heist film (Topkapi and “Rififi”) and for the marvelous Never on Sunday, starring his wife, Melina Mercouri, as an earthy prostitute who is “educated” about ancient Greece by an American scholar (Dassin himself).

The movie I most want to remember today is one that Dassin wrote and directed early in his career, one of the most profoundly spiritual films I have ever seen. It is called “He Who Must Die,” and it is the story of a group of Greek villagers who put on a passion play each year. The powerful citizens of the town decide who will play each part. Almost contemptuously, they select a stuttering shepherd to play Jesus and the town prostitute to play Mary Magdalene. But when a real-life conflict comes to the town, the members of the passion play cast begin to take on the attributes of the New Testament figures they are portraying. Unfortunately, the film is not available on video or DVD, but I strongly recommend making every effort to try to see it.

List: Science Fiction Movies With Accurate Predictions

Posted on April 2, 2008 at 7:00 am

When people think of the future we often — influenced by sci-fi movies — picture silvery jumpsuits, rayguns, and flying cars. Very often, the movies project the extremes of Utopian or distopian civilizations. But sometimes the movies get it right. Popular Mechanics has put together a list of The 10 Most Prophetic Sci-Fi Movies Ever, with the hits and misses in classics from “2001” (space tourism) to “The Truman Show” (reality TV), “Minority Report” (touch screens — and, I would add, Patriot Act-era surveillance, though not quite at the “precognition” stage), and “Gattaca” (designer genes).
The comments are as worthwhile as the list. We’ve come a long way from The Trip to the Moon, where the space travelers returned to earth by jumping off.

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Interview with Arie Kaplan of “Speed Racer: Chronicles of the Racer”

Posted on April 1, 2008 at 8:00 am

Arie Kaplan writes the new series of Speed Racer comic books, called “Speed Racer: Chronicles of the Racer.” Separate from the big-budget movie coming out later this year, the comics provide Speed Racer with a wider range of settings and a deeper backstory than he has had before. I talked to Kaplan about Speed Racer and his other projects, including his three-part series for Reform Judaism Magazine about the Jewish origins and themes of comic books and comedy performers. Kaplan also writes for Mad Magazine, speaks often on subjects relating to Judaism and comedy, and has a new book coming out later this year: From Krakow to Krypton: Jews and Comic Books.

How did you get involved with Speed Racer?

My series for Reform Judaism Magazine about the the influence of Jews on the comic book industry gave me a lot of contacts in the comic book world. I went to Wondercon and talked to IDW about Speed Racer. I had to go back and catch myself up on what was going on in comics. If you havenâ€™t been reading comics for a while and then read the One More Day series, you think, “What the Hell has been going on?” The quality of the writing is getting stronger. It is more like TV shows, but there are things you can only do in comics.

I wrote a horror screenplay a while back. Even though it had a horror element the special effects had to be pretty low key. It couldnâ€™t be like Transformers; it had to be low budget. For this Speed Racer series, each issue if they filmed it would cost like $300 million. In comics, you can do a story where it doesnâ€™t feel self-indulgent but you can have pirate ships, giant transforming robots, not too grandiose or too loaded or over the top, but make it work. It costs the same amount of money to draw people having a conversation as having an action sequence, that’s the difference between comics and movies. Anyone who wants to draw Speed Racer likes to draw action sequences, racing, blowing stuff up, but it wonâ€™t take a special secret expensive pen. Your imagination is honestly the only special effect; the budgetary limits are met.

But you donâ€™t want to put too many story twists; you donâ€™t want to pack the story too much. You do burn through story quite a bit because Speed finds out he is the last of a long line of racers. His last name used to not be the family name, but the occupation. There is a chosen one in each generation, the one to outrace the evils of the world. He is a crime-fighter but instead of super powers or a utility belt he has the Mach 5.

How did you come up with your interpretation of Speed Racer?

I wanted to make him more iconic, more comic-booky, more kinds of stories. I wanted him to be more of a teenager, and I wanted to bring in some of the The Hero with a Thousand Faces themes.

The name was one of the inspirations for this series. I wanted some explanations about why the goofy characters would have such on the nose names. I thought about my own name. Arie means lion, Kaplan means religious leader. A lot of names come from occupations â€“ what if Speed’s family was like that?

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Interview