#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Wanting to learn from the best, aspiring boxer Maggie Fitzgerald wants Frankie Dunn to train her. At the outset he flatly refuses saying he has no interest in training a girl. Frankie leads a lonely existence, alienated from his only daughter and having few friends. Maggie’s rough around the edges but shows a lot of grit in the ring and he eventually relents. Maggie not only proves to be the boxer he always dreamed of having under his wing but a friend who fills the great void he’s had in his life. Maggie’s career skyrockets but an accident in the ring leads her to ask Frankie for one last favor.
Plot: Despondent over a painful estrangement from his daughter, trainer Frankie Dunn isn’t prepared for boxer Maggie Fitzgerald to enter his life. But Maggie’s determined to go pro and to convince Dunn and his cohort to help her.
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Best boxing film since “Raging Bull”?
Clint Eastwood is a man of faith. He is an artist who is confident and experienced enough to have a deep faith in the audience that he is trying to reach. He is also a master of omission, of the left-out detail/line, trusting in his gut that his audience is willing to participate in his films by exercising their imaginations; that they never want any aspect of the story to be ‘dumbed-down’ for ready consumption. In fact, his trust in the audience to use their own minds to fill in gaps is like a gift of part ownership in the film. “Million Dollar Baby” is a beautiful gift, and a masterpiece if film-making.
Eastwood plays Frankie Dunn, an elder boxing coach, manager, and expert ‘cut man’ who runs a gym and is learning Gaelic on the side. He’s a nice enough guy, but he can’t seem to shake the guilt from ghosts in his past (some we’re in on, some not quite). His guilt/shame is a constant just beneath the surface and gives him something of a cold exterior, sometimes frozen. Yet, as played by Eastwood, you know Dunn’s aware of his own plight, but just doesn’t know how to melt the ice. Or more importantly, if he’s deserving of such a meltdown.
Enter Maggie Fitzgerald (Swank). She’s a thirty-something trailer trash woman from southwest Missouri. An unlikely hero for sure. But for my money, Maggie is this generation’s Rocky. That may seem an easy, simplistic, and over-reaching comparison, but the parallels are deep, obvious and myriad. Like many people, Maggie’s dream (being a professional boxer) is always just out of reach, yet she cannot give it up. She works as a waitress to make ends meet (or at least the ends are almost touching), but spends all her spare time training. Like Dunn, Maggie has her own ghosts haunting her, and through these ghosts they bond tighter than super glue. The heart and work (incalculably huge amounts) that Swank put into becoming Maggie are unnoticeable. It’s a silly phrase but it’s as if she was born to play this part. It fits like a glove. The real life parallel of her relationship to Eastwood no doubt played a part in her ability to connect with the character’s relationship to Dunn. Yet this in no way diminishes her accomplishment. She is brilliant.
Morgan Freeman plays Dunn’s right-hand man (Scrape) at the gym, and reprises a role similar to Red from “Shawshank Redemption”. He also voices the omniscient narration to the story, a la Red. Like Dunn and Maggie, he’s similarly bruised, but somehow less deeply. He’s there when both of them need support and helps to bring them together. I can think of nobody acting in film today who can embody kindness and wisdom through friendship and support better than Freeman. He also serves to bring in another Eastwood trademark – ‘Banter’. Even when themes are heavy, Eastwood’s sense of humor is never entirely absent and he and Freeman have a good time with each other, as did Bacon and Fishburne in “Mystic River”. These three characters together create a beautiful and true, albeit small, family unit Eastwood’s lifelong themes and ‘blurring of lines’ are on full display: good vs. evil, right vs. wrong, the role of violence, redemption, guilt/shame over previous acts, even god and death. Never one for easy answers, his version of the truth lies in the shadows, quite literally. Cinematographer Tom Stern crafts characters in shadow, shifting in and out of light. There is a grey area between the light and the dark where something approaching truth lies waiting, and this is where Eastwood takes us, then leaves us there to ponder. “Million Dollar Baby” is a shadow play. As accomplished as “Unforgiven” and “Mystic River”, yet even more personal, this film is a triumph of human storytelling. As Bacon’s character says in “Mystic River”, “ and the hits just keep on comin’.”
It Doesn’t Get Better Than This
I’m not sure Clint Eastwood shouldn’t have just retired after making Million Dollar Baby. Because films don’t get any better than this or more poignant.
Maybe Clint was influenced by the career of his young co-star Hillary Swank. When Swank got the Oscar for Boys Don’t Cry it was said that it was a pity she reached such a dazzling pinnacle in acting, that it wasn’t possible to top it. She might not have topped it, but she certainly equaled it in Million Dollar Baby in every sense of the word.
Clint is certainly beyond the days of being an action hero, no more Dirty Harrys or the Man With No Name films for him in his seventies. But in playing Frankie Dunn as a senior citizen he’s put a coda on his career with a role that leaves those iconic parts in the dust.
Million Dollar Baby is a generational love story, but not romance, not hardly in that sense. Clint is a lonely old man, alienated from what family he has left which happens to be a daughter and involved in the running of his gym where prize fighters train.
Boxing is integrated now, women do participate against each other to be sure, but it certainly wasn’t so when Eastwood was starting. So it was a fateful day indeed when Maggie Fitzgerald played by Hillary Swank showed up to learn the fine points of pugilism.
I’m sure that Swank took some of the points of character from Brandon Teena in playing Maggie Fitzgerald. It’s not an issue of sexual identity for Swank, but both characters come from this white trash background and both yearn for something more in life. There are dozens of sports stories involving men and women who escaped drab lives through athletic skill. The only difference in Million Dollar Baby is that boxing was not open to women until recently.
To use that phrase from another recent film classic, Swank completes Eastwood. She gives him in the family he’s lost even if it’s ever so briefly and he provides a strong father figure that she lacked in her life.
It all ends so horrifically tragic that I can’t say more, but that it’s here where even the frozen Medusa would thaw out in tears at the powerful performances of Eastwood and Swank.
Million Dollar Baby won four of the seven Oscars it was nominated for in 2004. It won for Best Picture and Best Director for Clint Eastwood and Hillary Swank just as she did for Boys Don’t Cry just blew out the competition for Best Actress. And Morgan Freeman who was Eastwood’s friend and live-in gym manager and trainer for Swank copped a Best Supporting Actor Award. It’s he who narrates Million Dollar Baby, he’s the chronicler of the unfolding tragedy.
I suppose the moral of the story is never settle for mediocrity, always strive for your personal best. Even if it ends bad you haven’t really lived unless you live that way. And family doesn’t necessarily have to have related genes.
This film will be a classic hundreds of years from now. We can all learn some life lessons from Million Dollar Baby.
Original Language en
Runtime 2 hr 12 min (132 min)
Genre Drama, Sport
Director Clint Eastwood
Writer Paul Haggis (screenplay), F.X. Toole (stories)
Actors Clint Eastwood, Hilary Swank, Morgan Freeman, Jay Baruchel
Awards Won 4 Oscars. Another 64 wins & 85 nominations.
Production Company Malpaso Company
Sound Mix DTS, Dolby Digital, SDDS
Aspect Ratio 2.39 : 1
Camera Panavision Panaflex Platinum, Panavision C-Series Lenses
Laboratory Technicolor, Hollywood (CA), USA (color) (prints)
Film Length 3,556 m (Sweden)
Negative Format 35 mm (Kodak Vision 250D 5246, Vision 500T 5279)
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm (Kodak Vision 2383)