By: debbie lynn elias
Based on Laura Hillenbrand’s best-selling biography, “Seabiscuit” is not only the story of the little horse that could, and did, but a tale of hope and faith during a time when there was little to be found. It was the 1930’s. America was in the throes of the Great Depression. Not only was the economy depressed, but so was the public; with no work, no money and their spirits broken. Out of the blue comes this unruly, lazy, waddling, misfit of a horse, a millionaire who had been at the top of his game only to fall to the bottom, a horse trainer who gives new meaning to the term “horse whisperer” and a jockey, too small and too blind to succeed in his chosen profession of boxing. Together, Seabiscuit, Charles Howard, Tom Smith and Red Pollard, overcame all odds to ride into the hearts and history of America.
Jeff Bridges, Chris Cooper and Tobey Maguire each give the performance of their careers as Howard, Smith and Pollard, respectively. Bridges’ embodiment of Howard has the perfect touch of bragadociousness while Maguire gives a definitive depiction of Pollard more through physicality and visual expression than dialogue. But my money is on Cooper who, in what is this year’s first real Oscar worthy performance, brings a very tacit raw emotion to his role as Trainer Tom Smith, undoubtedly due in part to his own experience of 20 years of raising cattle with his father. Cooper depicts Smith as a man of few words, but what words he does speak, resonate like those of an old West cowboy, not grand and glorious, but thoughtful, simple, honest and true. What makes these three so effective is the diversity of the characters. But for Cooper, no one portrayal is a standout in and of itself. Here, it’s the characters’ diversity and interaction that makes each actor that much more impressive.
But it’s not just Cooper who may be looking at Oscar gold come Spring. All eyes should be on William H. Macy as reporter/track announcer, Tick Tock McGlaughlin. Macy, who has said in recent interviews, did nothing to prepare for his role as Tick Tock, is a joy. With a rapid-fire manic delivery, cornball comedy and sound effects at the microphone, Macy made Tick Tock really tick. Playing on the fact that in the ‘30’s the only way to convey an event to the audience was by voice and sound (remember – no tv yet!), Macy’s delivery gives Tick Tock an intensity and drive that while comic to watch, has a vibrancy inescapable to a listener. And making his acting debut is real-life jockey George Stevens as George Woolf, best friend of Red Pollard and the man who rode Seabiscuit in the much touted 1938 race between Triple Crown winner War Admiral and Seabiscuit, after Pollard was severely injured just prior to the race. Not a large role, but pivotal in the Seabiscuit story, Stevens is prefect.
But, what would “Seabiscuit” be without Seabiscuit. Horses, like people, all have different temperaments and personalities and here, with ten different horses being used for the starring role, we unfortunately never really get to see those qualities so lovingly depicted by Hillenbrand in the book that made Seabiscuit so “special” and such a longshot. Once almost discarded before purchased by Howard, we really miss out on seeing that indomitable spirit for which Seabiscuit was known. On the upshot, never once does Ross try to humanize the horse as is so often the case in films with animals as principals.
A long time fan of writer/director Gary Ross, I was somewhat surprised that “Seabiscuit” is a little slow coming out of the box, waiting some one-third of the way into the film to pick up momentum and find its stride. Unlike its namesake, however, the film never quite reaches the fevered pitch of a horse race and like so many horses, loses some of its steam before crossing the finishing line. In her book, Hillenbrand gives us more than a slice of Americana as she takes three very diverse and distinct components of the day in the form of Howard, Smith and Pollard, showing us the separateness and sameness of America, and the journey that ultimately brings everything together as one. In the film, Ross, seemingly intentionally omits a lot of the spirit and color of the book, taking a different tact by “Hollywoodizing” the story, adding layers of pity and piety, all seen through an almost cognac colored haze, as the tale is told by PBS narrator David McCullough.
With credits reading like a “Who’s Who” of Academy Awards, technically, this film is magnificent. Wanting to bring the audience as close to the racing action as possible, using the principles of a horse/jockey training device called an equicizer, together with a little help from NASCAR racer Allan Padelford and a Chevy 454 engine, Ross had a “modified” equicizer designed that would accommodate cameras on the front and rear of the platform and travel 40-50 mph, riding alongside the horses, thus enabling Ross and cinematographer John Schwartzman to get close-ups and jockey interaction during races. Editor William Goldenberg enhanced the work even further with his precision styling. Completing the overall package was period costuming, much authentic, by costume designer Judianna Makovsky. On “race days” with as many as 650 extras to outfit, Makovsky used not only wardrobe services, but combed 35 different costume and archival facilities throughout the country for authentic period pieces.
While not as epic as one might think given the studio build-up, “Seabiscuit” is nevertheless destined to become a classic. A timeless tale of idealism where underdogs becoming champions and hope, love and determination prevail. Certain to put a lump in your throat and bring a tear to your eye, “Seabiscuit” is a sure bet to bring home not only some box office gold, but more than likely some Oscar gold as well. And they’re off!
Red Pollard: Tobey Maguire Charles Howard: Jeff Bridges Tom Smith: Chris Cooper Tick Tock McGlaughlin: William H. Macy George Woolf: Gary Stevens
Universal Pictures presents a film written and directed by Gary Ross. Based on the book by Laura Hillenbrand. Running time: 140 minutes. Rated PG-13 (for language, some sexual situations and violent sports related images).
