![]() Although playing a hockey coach might seem like a slap shot for an actor, Russell does real acting here. That leaves Kurt Russell and his character Herb Brooks as the center and reason for the film. We're in the middle of the confusion on the ice, feeling the energy rather than focusing on plot points. Unlike the fancy shots in a movie like " The Mighty Ducks," this one films the hockey matches more or less the way they might look in a good documentary, or a superior TV broadcast. In keeping with its analytical style, the movie doesn't use a lot of trick photography in the hockey games. And he dealt dispassionately with injuries, which are a fact of life and can end a career in a second. Altman was fascinated by the leadership style of the company's artistic director, and how he deliberately uses strategy and underlings to create an aura of mysterious authority. Oddly enough, the recent movie this one reminds me of is Robert Altman's " The Company," about the Joffrey Ballet. Their coach has a dark, forbidding manner and doesn't smile much, but he's not a Machiavellian schemer, and the Soviets don't play any dirtier than most teams do in hockey. When the team finally faces the Soviets, they're depicted as - well, simply as the other team. It doesn't even bother to demonize the opponents. It's about practicing hard and winning games. Eric Guggenheim's screenplay, directed by Gavin O'Connor, is not about how some of the players have little quirks that they cure, or about their girl, or about villains that have to be overcome. We know all the cliches of the modern sports movie, but "Miracle" sidesteps a lot of them. He refuses to take a psychological exam that Brooks hands out, and Brooks tells him that, by not taking it, "you just took it." Later, when Craig seems to falter, Brooks benches him, and says, "I'm looking for the guy who refused to take the test." The exception is the goaltender, Jim Craig ( Eddie Cahill). We begin to recognize their faces, but not much is done to develop them as individuals. Most of the time, the team is seen as a unit. He's looking for kids who are hungry and passionate and need to win. These guys think they will join Brooks in choosing the American finalists after a week of tryouts, but Brooks announces his final cut on the first day of practice he already knows who he wants, and doesn't require any advice. Amateur sports are overrun with adults who are essentially groupies, loving to get close to a team, treasuring their blazers with the badges on the breast pockets. At one point, after chewing out his team in the locker room, he stalks out and, passing Patrick, says in a quiet aside, "That oughta wake 'em up."Īfter Brooks is selected for the job, his first task is to select his team. He assigns his assistant coach, Craig Patrick ( Noah Emmerich), to become a friend to the players - because Brooks deliberately does not become a friend, stays aloof, wants to be a little feared and a little resented. Brooks knows hockey, and disappointment: He was cut from the 1960 American hockey team only a week before the first game, and so in this film, when he has to cut one more player at the last moment, we know how he feels - and he knows how the player feels.īrooks' strategy is to weave an air of mystery about himself. That's what's good about the film: The way it frankly focuses on what a coach does, and how, and why. It's fascinated by the quirks of his personality and style we can see he's a good coach, but, like his players, we're not always sure if we like him. Herb Brooks is a real man (he died in a car accident just after the film was finished), and the movie presents him in all his complexity. At the very least, she could occasionally ask her husband if he thinks he looks good in those plaid sport coats and slacks. This role, complete with the obligatory shots of the wife appearing in his study door as the husband burns the midnight oil, is so standard, so ritualistic, so boring, that I propose all future movies about workaholics just make them bachelors, to spare us the dead air. Patricia Clarkson, who plays Brooks' wife, has the thankless role of playing yet another movie spouse whose only function in life is to complain that his job is taking too much time away from his family. He's beefed up into a jowly, steady middle-age man who still wears his square high-school haircut. This is a Kurt Russell you might not recognize.
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