Movie Review: “Seabiscuit”
By Gerri Pare

Catholic News Service

NEW YORK (CNS) -- A grieving father, an over-the-hill trainer and an abandoned teen-ager join forces to transform a washed-up racehorse into an American legend in the entertaining, fact-based "Seabiscuit" (Universal).

For those who have read Laura Hillenbrand's fine, same-titled best seller on which the film is based, the required condensing of the book into a movie may prove disappointing. But for those new to the story it can be appreciated as a rousing underdog tale of triumph whose flaws do not overly detract from enjoying the spectacle.

Writer-director Gary Ross captures the period visuals from 1910-40 in classy fashion and with telling detail. Adding voiceover historical and sociological context is David McCullough's narration, which broadens the scope of the story to make it understandable why Seabiscuit so captured the imagination of the American people. Yet sometimes the voiceover is intrusive, suddenly yanking us out of the intimacy of the unfolding narrative.

Before small, ungainly Seabiscuit of the doleful eyes and hostile temperament arrives on screen, we follow a trio of life paths that inevitably converge to change the downward spiral of the horse's life -- and in the process, each other.

Bike repairman-turned-millionaire motorcar salesman Charles Howard (Jeff Bridges) begins buying racehorses as a distraction after the devastating death of his only child. He sees in sensitive loner Tom Smith (Chris Cooper) an aging trainer who can handle difficult horses. Acquiring failed racer Seabiscuit at a bargain-basement price, Howard gives Smith free rein to rehabilitate the abused and now dangerously rebellious animal.

After his prosperous Canadian parents fall victim to the Depression and send him off to earn his own keep, impoverished youth "Red" Pollard (Tobey Maguire) fails as a boxer and does little better as a jockey. But Smith sees in him the same feistiness that fuels Seabiscuit and pairs them. The quartet is complete but the journey to the winner's circle is fraught with secrets, powerful rivals and crushing blows to horse and jockey alike that ordain that neither will ever race again.

Buoyed by nuanced performances and a riveting true story, the handsomely shot film comes to life in exciting race footage but also stresses how the caring attention of Smith toward the horse -- and Howard for the neglected jockey -- made all the difference. At times this theme of kindness comes across heavy-handedly in sentimental terms, stated all too obviously by Bridges or Maguire. And yet it is precisely how the down-and-out jockey and horse persevered and made a comeback that inspired the downtrodden public. Seabiscuit's story serves as a metaphor for how the country was able to weather the Depression and survive.

It's a very American story about the land of opportunity -- and second chances.

Distressingly, the film's climactic race relies more on swelling music than thrilling visuals, not detailing the risky strategy Pollard had to use to win the all-important Santa Anita Handicap in 1940.

Real-life jockey Gary Stevens is credible and appealing as fearless jockey George Woolf, who rode Seabiscuit against his magnificent East Coast rival, War Admiral, at Pimlico in 1938 as an amazing 40 million people watched or listened in on the radio -- among them the injured, hospitalized Pollard. Woolf's succinct reply to Howard's questioning if Pollard should risk his life racing again is a high point in the film.

The movie doesn't do the book justice, though, in skipping Pollard's romance and marriage and in showing Howard's second wife (Elizabeth Banks) instead of Pollard's wife placing a St. Christopher medal in the jockey's hand at the final race.

William H. Macy injects periodic humor as gossipy radio reporter "Tick-Tock" McGlaughlin, whose gimmicky sound effects bring us back to the creativity of radio days gone by. But it is the soulful expressions of Maguire, Bridges and, to some extent, the horse playing Seabiscuit that give the film an emotional dimension that makes the sometimes syrupy treatment unnecessary. Equally uncalled for is a brief bordello scene of Pollard with a prostitute, although it is at least discreet. Where Ross succeeds is in fleshing all three main characters so we can see their crucial parts in making Seabiscuit an American legend.

Due to an implied sexual encounter, brief racetrack and boxing ring violence and some profanity, the USCCB Office for Film & Broadcasting classification is A-III -- adults. The Motion Picture Association of America rating is PG-13 -- parents are strongly cautioned. Some material may be inappropriate for children under 13.

* Pare is director of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops.