Major League

A boy’s sport, a man’s game. Baseball lodges in the American male heart because the fundamentals look easy enough for any Little Leaguer to master. Too soon, men realize that pro ball demands a genius for grace, concentration and magnificent egotism. They may agonize over the career path not chosen, the debt too steep, the woman so close but just beyond their reach. For many, though, a dream of athletic stardom is the one that got away. So they stick with baseball, living and dying with their team, analyzing stats with the rapt anguish of a rabbinical student cramming for a final. To their favorite players, they are both sons and fathers — part hero worshippers, part child psychologists. They become a collective, possessive lover of their idols. Baseball fever: boys catch it, men can’t shake it.
In the late 1980s and early ’90s, Hollywood got the fever. Bull Durham, Eight Men Out, Stealing Home, Talent for the Game, A League of Their Own and Mr. Baseball swarmed into theaters like kids onto a sandlot. In 1989, two baseball movies opened in the same month (April, of course): Field of Dreams, which a heartless TIME critic panned as “the male weepie at its wussiest,” and the good-natured comedy we honor here. Writer-director David S. Ward (he penned The Sting) imagines the real Cleveland Indians team as a bunch of loopy rejects from the Mexican, minor and California Penal leagues. Now coming to bat: the veteran catcher on his last legs (Tom Berenger), the Willie Mays wannabe (Wesley Snipes), the pampered third baseman (Corbin Bernsen). And on the mound, a fastballer (Charlie Sheen) with control problems on and off the field. With this gang, in this comic fantasy, the Tribe can’t lose.
Ward doesn’t try too hard or aim too high, but his collection of stock characters, breezy dialogue, dense ambience and instinct for easy emotions is pretty funny. Special mention to former minor major leaguer Bob Uecker, the real Mr. Baseball (Johnny Carson called him that), who plays the play-by-play announcer. “Just a bit outside,” he says diplomatically of a Sheen pitch that starts in Cleveland and ends near Cincinnati.
Million Dollar Baby

In his 56 years of movies (beginning with the 1955 Revenge of the Creature), Clint Eastwood has taken a beating and usually come out on top. In 2004, at 74, he was too old to fight in the ring, but as Frankie Dunn he could help young boxers realize their potential. Screenwriter Paul Haggis based his script on the stories of F.X. Toole, a former ringside cutman. That was Frankie’s trade in his prime. Now, with his pal Eddie (Morgan Freeman), he runs a gym for boxing hopefuls, most of them with no hope at all. The longest shot is Maggie Fitzgerald (Hilary Swank), who hasn’t a prayer or a clue but is determined to be the champ. Can you guess what happens? Maybe not. The story has a sucker punch that reveals both the importance of family and the ways loyalty can trump official morality.
One of three Best Picture Academy Award winners with boxing scenes (after From Here to Eternity, for Montgomery Clift’s sideline as a fighter, and Rocky), the film won Oscars for Best Director (Eastwood), Best Actress (Swank) and Best Supporting Actor (Freeman). Million Dollar Baby works up a decent sweat in the gym, lands a surprise haymaker in the ring and ends up in a hospital, where Eastwood connects with his richest, sneakiest punch of all. Like Frankie, the movie is a tough creature with a heart. Like Eastwood, it’s a relic that dazzles you with its footwork, daring and class.
More Best & Worst Lists
View AgainWinning
- The Big Lebowski
- Body and Soul
- Breaking Away
- Bull Durham
- Caddyshack
- The Damned United
- Downhill Racer
- Eight Men Out
- Field of Dreams
- Hoop Dreams
- Hoosiers
- The Hustler
- The Freshman
- Lagaan
- Major League
- Million Dollar Baby
- Million Dollar Mermaid
- Olympia
- Raging Bull
- Rocky
- Shaolin Soccer
- Slap Shot
- Speed Racer
- Tokyo Olympiad
- When We Were Kings

























