Review

Review Date: 27-July-03
Spoiler Rating: Medium
Juju Judgment: Just OK

Seabiscuit (2003)

Seabiscuit was a knock-kneed, homely horse who made his way out of the trash bin of thoroughbred racing to become a hero to millions of Americans struggling for dollars and dignity in the Great Depression. If biographer Laura Hillenbrand is right, he also brought meaning and fulfillment to the lives of his trainer and jockey, who had about as rough a start as he did, and of his owner, whose wealth couldn't ward off heartbreak. In short, Seabiscuit's story ain't always pretty, but it sure does hit you where you live. And that is precisely why the movie version of Hillenbrand's book fails to give the four-legged idol his due. The film doesn't have any rough edges of its own; it's deliberately, annoyingly polished. I got the uncomfortable feeling while watching it that it wasn't made as art or entertainment, but as a high class advertising piece for Kodak, Chrysler, Budweiser, the National Thoroughbred Racing Association, and whoever else shelled out some bucks to go along for the ride.

The script, by director Gary Ross, follows the book pretty closely, which is not always a good thing. The slow beginning sets up the historical backdrop of the tale and traces the paths by which Seabiscuit's owner (Jeff Bridges), jockey (Tobey Maguire), and trainer (Chris Cooper) came to find each other and the horse (who, regrettably, doesn't appear until exactly 45 minutes have passed). The action then shifts to the process by which the fab four gelled into a team and started to conquer the West Coast racing world. The Biscuit's remarkable winning streak leads to his greatest rivalry, with Triple Crown winner and East Coast darling War Admiral, which culminates in a match race in November 1938. (I have to inject here, since War Admiral was the personal favorite of my horse-mad youth, that he was not a huge 18 hands as the movie states, but a small 15 or so hands, similar to Seabiscuit.) But the match race isn't the end of the story: having scrapped through hard times already, Seabiscuit and his rider find themselves down and out once again and must rely on determination and each other to stage one last comeback.

Even though the story has been airbrushed, it is still terrific testimony to the power of perseverance and serendipity --- that such a popular figure emerged at such a time is the kind of coincidence that makes history interesting. Unfortunately, the historical aspect is dropped from the movie about halfway through. Whereas the beginning includes montages of old photos from America's past --- carefully selected, lovingly retouched, and patiently interpreted by a faceless narrator --- it has become irrelevant by the end of the film that Seabiscuit didn't just rally his handlers around him, but also a good part of the nation, who saw in him the kind of fighter they were trying to be. Similarly, the brief but fascinating glimpses we get into the rough and tumble world of horse racing around the Prohibition years dry up as soon as the principals come together and their personal connections and experiences take center stage.

But the shift in focus from the larger perspective to the smaller may go unnoticed and unlamented due to the heavily emphasized feel-good elements of Seabiscuit's life and the slick, Kodak-moment perfection of the movie's execution. (New meaning for the term "photo finish"?) "Seabiscuit" is gorgeously filmed, with cinematography reminiscent of last year's Oscar-winning work on "Road to Perdition" (which was also a mid-summer, would-be art picture for the masses). The camera doesn't lack for good subjects, either, as few things are more breathtaking than a thoroughbred in motion. (Several jaw-dropping racing scenes here would be memorable if only for their level of difficulty.) The cast is impeccable, and they look fabulous motoring in classic cars, dining in handsome mansions, galloping through vibrant autumn foliage, and making witty and insightful comments in stylish '30s costumes. The soundtrack provides emotional prompts without being overwhelming, and any unpleasant moments are tastefully kept from full view. The plot is meticulously structured: all the payoffs are set up beforehand, and all the Important Moments are drawn out just long enough for everyone in the audience --- regardless of their age, attention span, or IQ --- to grasp their meaning. No detail was unplanned and no word, sound, smile, bruise, or beam of light unscripted; the Depression, pain, and hardship never looked so good.

Sixty-five years ago, Seabiscuit succeeded in winning the affection of the man on the street by showing him that the little guy matters. This movie, however, is too well groomed to fit in with the little guy. It seems to have been developed for Oscar voters and the big money interests with a stake in it, not the humble moviegoer who wants to be moved instead of manipulated.

Copyright © 2003 The Jujube (M. I. Kim). All rights reserved.