“42”

PG-13 for thematic elements including language.

 

“42”, as any fan of baseball knows, is Jackie Robinson…and by “is,” I mean, “is!” His number is retired by all baseball teams, forever, except on Jackie Robinson Day, when every player is “42.” Jackie Robinson is both a legend and a hero. Of course, “42” is not the first movie about him, but it probably is the best so far.

The central issue of the film “42” is racism, quite understandably. Branch Rickey, General Manager of the Brooklyn Dodgers (played by Harrison Ford) makes the decision to break the color line. It appears that he does so for financial reasons, knowing that in the short term there will be many problems. (This may not be the entire story as we discover a little later in the film.) Mr. Rickey knows he has to find the right player with the right personality; a ball player with no small amount of self-discipline, talent and courage. He chooses Jackie Robinson.

Obviously, the virulently racist society, not to mention sport, shall not integrate willingly; without a struggle. Much, if not most, of the film is about the ugliness of racism in post-war America. But segregated baseball is becoming a fading memory. The story is still worth telling, especially to a younger generation. Or, perhaps it is a story that needs telling as a reminder to all. This is not the long past; it is the recent past.

“42” is not superlative film making, but it is worth seeing for more than the moral of the story.

Chadwick Boseman plays Jackie Robinson. His portrayal is steady and strong; he does not play him “god-like” or with Sturm und Drang. His training comes from stage acting and it shows. He is not just a face that works only in front of the camera; it is more internal and organic. We hope to see more of him in the future.

However, Harrison Ford hits a home run. His grizzly and gravely depiction of Mr. Rickey fills the screen and fascinates the mind and soul. He exceeds the two dimensions on the screen and the three in representation. This type of character only existed prior to the explosion of television; it is the type of guy who lived in back rooms prior to the 1960s, shrouded in cigar smoke and the smell of newspapers, before the development of media consultants and the public corporate image.

Another thing I liked about “42” is for the panoramic shots of the fans of baseball; perhaps a bit cheesy and too Norman Rockwellian, but I loved it. As ugly as the faces representing racism are in this film, there is the visual depiction of the love of the national pastime that appeals to the eye.

Baseball trivia fans should smile at the depiction of Red Barber, Pee Wee Reese and Leo Durocher. And film fans with a careful and observant eye will enjoy the period sets.

There is some clever symbolism via the intriguing utilization of two young boys, even if it is a tad unsophisticated: a young black boy, who comes to see Mr. Robinson play during his season with the Montreal (minor league) team and the effect it has on him and an anonymous white boy, excited to see local boy Pee Wee Reese, sucked into racism due to the unfortunate admiration of his ignorant and bigoted father. Kudos to both young actors.

For my Georgia readers, it should be noted that much of the movie was filmed in Macon and the stadium scenes were filmed at Rickwood Field in Birmingham, AL, “playing” three different historical stadiums.

Perhaps this is “history” sanitized. Perhaps it is “baseball lite.” Perhaps it isn’t Spike Lee. Perhaps it isn’t Hallmark Hall of Fame. But it is worth the price of a ticket, so…

Play ball; watch “42”.

Rest in peace, Mr. Robinson. We will never forget you.

“42” scores four bow ties out of five.