USA, 2004
Director: Clint Eastwood
Score: ***** Year’s 10 Best

It is made clear from the start that MILLION DOLLAR BABY is not a film about boxing. Nor is it about boxers.  As Morgan Freeman’s narration tells the audience at the beginning, boxing is about respect. But just as soon as the viewer is to draw the conclusion that director Clint Eastwood is about to offer a lesson about respect in his new film, the narrator startles the viewer by adding that no one knows what respect is all about. Within the first few minutes of the film, Eastwood slyly tells us the whole purpose of his film – how the main character, though respected by all others, is to learn one more important lesson himself, one that will take the viewer through a powerful and emotional wrenching 2 hours of film. 

Eastwood himself plays Frankie Dunn, a has-been boxer and trainer who cannot live with the guilt of what had happened in the past.  He is tricked then reluctantly trains a girl, Maggie Fitzgerald (Hilary Swank in an even better performance than BOYS DON’T CRY) in the sport. In Eastwood’s film, everybody has issues, from Frankie’s best friend and gym manager Eddie (Morgan Freeman) to his priest (Brian F. O’Byrne) down even to the nobody Danger Barch (Jay Baruchel) who frequents the gym. That is actually the secret of what makes the film so compelling. Every character is a real human being. Eastwood’s camera also captures the feelings of Maggie’s opponents through effective facial close-ups.

MILLION DOLLAR BABY works on different levels. For example, the true remorse felt by Frankie rubs off on the audience not through Eastwood’s acting but through his direction (the way the light lifts from his face to display a certain blackness). The sub-plots are interesting enough - the skinny naïve Danger getting his beating; Maggie’s hillbilly family and Eddie’s problems – and these not only keep the film moving but blend effectively into the main plot. Credit goes to Paul Haggis’ exceptional script, adapted from ex-boxer and trainer, Jerry Boyd’s book ROPE BURNS: STORIES FROM THE CORNER. Little metaphors used and bouts of humor enhance the film’s pleasures.

Everyone enjoys violence; the narration goes on at one point.  he film has its share of (necessary) violence.  The scene in which Maggie asks her trainer, Frankie to fix her broken nose so that she will not spew up blood so that she has just enough time to win a bout is graphic enough. Much can be read between the lines as well. Frankie’s decision not to arrange brutal opponents for her reveals his deeper feelings.
MILLION DOLLAR BABY is Eastwood’s 25th film and among his best along with UNFORGIVEN, MYSTIC RIVER, PLAY MISTY FOR ME and my favorite HONKYTONK MAN.  It has spirit, fight and bite – like a good fighter. From spaghetti western nobody to actor, director and composer (he did the music for this one), Eastwood has matured to become one of the master filmmakers. I can clearly say that I look forward to an Eastwood film every year.  And if MILLION DOLLAR BABY is about respect, Clint Eastwood surely knows all about it – as he has gained it slowly but surely over the years. MILLION DOLLAR BABY gets my vote as the best American film of 2004.

Review by Gilbert Seah.