Danielle Solzman
Some forty years after its 1984 theatrical release, The Natural is still one of the best baseball movies ever made in cinematic history. In moments where you couldn’t even script it if you tried, the Sandberg Game took place just over a month later. What Ryne Sandberg accomplished in that game is no different than Roy Hobbs (Robert Redford), Kirk Gibson, and more. The list goes on and on when it comes to iconic–albeit improbable–moments in baseball.
Barry Levinson was on a roll in the 1980s, delivering a wide variety of movies. The fact that we still remember them is a testament to Levinson’s abilities as a filmmaker. Outside of Robert Redford’s acting in the film, The Natural is also iconic because of Randy Newman’s score. The main theme is iconic to say the least–you immediately know the film that the theme is from as soon as you hear the opening notes. Surprisingly, it took some time for Newman to crack the music. Even more surprising is how intimidated it was in the beginning. To hear Levinson and Newman describe the beginning moments of the theme’s birth is certainly something.
Once a promising star at age 19, Roy Hobbs was shot in the abdomen by Harriet Bird (Barbara Hershey). Sixteen years later, Hobbs tries to make another go of it with the New York Knights. Already in his mid-30s–Redford was turning 48 in 1984–Hobbs is well past his prime. Manager Pop Fisher (Wilford Brimley) is unhappy about the signing, refusing to play Hobbs. He eventually gives in and witnesses Hobbs knock the daylights out of the ball. Could Hobbs be what the last place team needs to turn their luck around? Maybe.
In a page that is drawn straight out of the Black Sox scandal, The Judge (Robert Prosky) offers Hobbs $5,000 to throw the remaining games. Hobbs isn’t going for it, having already been informed by assistant manager Red Blow (Richard Farnsworth) about Pop’s share going to The Judge if they don’t win the pennant. Sportswriter Max Mercy (Robert Duvall), who is also in on the collusion, soon remembers meeting Hobbs earlier in his career. In any event, Mercy introduces Hobbs to gambler Gus Sands (Darren McGavin). Hobbs also meets Pop’s niece, Memo Paris (Kim Basinger) and their blossoming romance soon damages his game. Anything that can go wrong…will go wrong. Things soon change when Hobbs reunites with former girlfriend Iris Gaines (Glenn Close). Iris has a teenage son, whose father is hinted at being Hobbs. Hobbs starts rebounding from his slump shortly thereafter.
The Knights find themselves within a game of winning the National League pennant. It’s just their unfortunate luck that Memo ends up poisoning the star ballplayer. Hobbs ends up in the hospital for a few days and the team suffers in his absence. They end up facing the Pittsburgh Pirates in a one-game playoff. The Judge doubles his bribe but Hobbs turns him down. Hobbs ends up playing but it takes until very late in the game to start hitting the ball again. He’s recovering from being poisoned and an old silver bullet having been removed from his stomach. Not having any luck at the plate, Hobbs borrows a bat from the team’s batboy, Bobby Savoy (George Wilkosz), and–in a moment foreshadowing Kirk Gibson’s 1988 home run–hits a towering home run.
The film is based on Bernard Malamud’s 1952 novel, legitimizing him as a writer according to his daughter, Janna Malamud Smith, in one of the bonus featurettes. However, the film changes up the ending from the novel. The filmmakers opt for a happy ending rather than a tragic ending. Make no mistake that there is a bit of darkness in the film. In fact, it draws on many historic moments in baseball. If you pay attention, there are moments that reference Babe Ruth–The Whammer (Joe Don Baker), the Black Sox scandal, Pete Reiser crashing into the outfield wall, Bama Rowell hitting the clock on top of the scoreboard during a double header at Ebbets Field. Roy Hobbs himself is bribed $10,000 to throw the game–a page right out of the Black Sox scandal. The novel even includes the line, “Say it ain’t so, Roy.”
There are more references to baseball players. The 1949 shooting of Eddie Waitkus also makes its way into the novel and film. Of course, the shooting happens to Hobbs in the film, right when he’s trying to break into the majors. Anyway, it would take over two decades to the film development moving. Phil Dusenberry wrote the first draft after rights were acquired in 1976. He didn’t feel anything was happening–enter Robert Towne took over screenwriting duties in 1981. Meanwhile, CCA had recently signed Robert Redford. Next thing you know, an agent reads the script and Redford gets his first role in three years. Redford was a successful director but chose not to direct the film. Instead, he sought out Barry Levinson following his success with Diner.
“At that time, baseball movies were considered like the kiss of death,” Levinson recalled in a 2007 bonus featurette.
When one considers the success of baseball movies in the 1980s, it’s hard to believe that they were the kiss of death. You later had Bull Durham and the quintessential Field of Dreams. Flashforward to the early 1990s and there are no shortage of baseball movies starring teenagers! Anyway, there’s no implausible baseball playing in the film, which is really something that can make or break a baseball movie. If you cannot buy the baseball playing as being authentic, it’ll sink the film. Redford had studied Ted Williams and it shows in the film–it’s not a coincidence that Hobbs wears the same #9 that Williams did for the Boston Red Sox.
Speaking of baseball, they film on location at the late War Memorial Stadium in Buffalo, New York. Redford had wanted Fenway Park but they said no. Other stadiums were big into astroturf so those weren’t an option. The Buffalo stadium looked and felt much like it did in the 1930s.
“Did you ever play ball?” Hobbs asks sportswriter Max Mercy (Robert Duvall). To which Mercy responds, “No, never have…but I make it a little more fun to watch.”
Mind you, Mercy is quite cynical of the game. Yet, he claims to be there to “protect the game” while also being in on the fix in throwing the pennant. Anyone claiming to protect the game shouldn’t be participating in attempts to throw a game. Sportswriters should be at the stadium to do their jobs. I’m curious to hear what sportswriters think of Max Mercy and his betrayal to their profession, let alone baseball players. I certainly don’t appreciate any of the cynicism, no matter what a writer is covering.
The Natural utilizes slow-motion effect to perfection. It especially comes up in key moments. Bernie Pollak’s costume design stays true to the era of the game. Pollak had an uphill climb in his research because of color photos not quite being so popular at the time.
If it were up to me, The Natural would have received a nomination for Best Picture. Unfortunately, it didn’t. However, the film did earn nominations for Best Supporting Actress (Glenn Close), Cinematography, Art Direction, and Music. Caleb Deschanel’s lighting of Glenn Close may very well have earned her Close the Oscar nomination. Not nominating Randy Newman’s score would have been highway robbery! Sadly, none of the nominations would result in wins. Newman also had the tough luck of competing against two John Williams scores. The film is not close to being half of what it is without the score.
Would the film have the same reception with the book’s ending? It’s hard to say. Sure, it might air occasionally on the MLB Network but nit as the iconic classic that it is today. As fans and as an audience, we find ourselves rooting for the underdog or rooting for the hero. You’re rooting for Roy Hobbs. Who wouldn’t be excited by seeing Hobbs smash the ball into the lights?!? That’s why we go to the movies. The Natural has everything going for it–directing, acting, cinematography, and especially Randy Newman’s iconic score.
DIRECTOR: Barry Levinson
SCREENWRITERS: Roger Towne and Phil Dusenberry
CAST: Robert Redford, Robert Duvall, Glenn Close, Kim Basinger, Wilford Brimley, Barbara Hershey, Robert Prosky, and Richard Farnsworth, Joe Don Baker, Michael Madsen, John Finnegan, Jon Van Ness, Alan Fudge
Tri-Star Pictures released The Natural in theaters on May 11, 1984. Grade: 5/5
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