IN "SEABISCUIT," Gary Ross's bright, uplifting adaptation of Laura Hillenbrand's runaway bestseller, a horse becomes the country's brave, resilient ride to a greater destiny. Yes, it's that cheesy, but it's also surprisingly appealing. After all, the horse Seabiscuit really was that phenomenal.
When the 15-hand racehorse starts winning races against bigger, better-trained and blueblooded thoroughbreds at the track, the infield (where the casual, lower-class spectators go to watch races) becomes a Depression-era mosh pit of celebratory whoops. Millions more are clustered around the family radio or watching the newsreels in the movie theaters in anticipation of news of his victories.
Jockey Red Pollard (played by Tobey Maguire) and racehorse Seabiscuit gave America something to cheer about during the Great Depression.
(Universal Pictures)
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At America's lowest point in the 20th century, Seabiscuit -- ignored and overlooked by everyone except his own devoted team of handlers -- emerges as an underclass winner. Those pounding hooves might as well be going: metaphor metaphor metaphor metaphor.
And what about that quintessentially American ragtag team? Seabiscuit's jockey is Johnny "Red" Pollard (Tobey Maguire), considered by conventional judgment to be too big for a jockey; he also clearly has personality issues. Seabiscuit's trainer is the gray-haired, taciturn Tom Smith (Chris Cooper), a broken-down cowboy in a post-cowboy world. Seabiscuit's owner is an enterprising businessman named Charles Howard (Jeff Bridges), who has already tried -- unsuccessfully -- to sell bicycles and -- successfully -- to sell cars. But when Howard loses a son in an automobile accident, his life hits bottom. Seabiscuit will be his climb back.
Their opponent is 18-hand Triple Crown winner War Admiral, owned by the snooty, East Coast blueblood Samuel Riddle (Eddie Jones), who refuses to compete on the same racetrack as the common Seabiscuit for as long as possible. But the public's desire to see these two horses race each other prevails, and in late 1938, Seabiscuit and War Admiral meet at the Pimlico track for the most anticipated sports event of the time.
The movie is so rigged for Hollywood glory, producer-writer-director Ross can hardly miss. To his credit, Ross (who also made "Pleasantville" with Maguire) attempts to raise the movie a few notches above convention. He inserts historical narrative, which invests the story with a sort of documentary seriousness. He also takes pains to outline the human journeys leading up to Seabiscuit's glories, particularly Howard's triumphs and losses, Smith's dwindling set of professional options and Pollard's checkered life: First he's rejected by his family, then he tries to be a boxer, losing fight after fight.
Maguire (trimmed down to near anorexic slimness), produces a wild-eyed, highly strung performance as Pollard. Cooper, who has the smallest principal role, makes every moment count. Bridges seems to have been born for his part. (In a way, he's reprising his role from "Tucker: The Man and His Dream") He's a quiet charm. More than anything, you want Seabiscuit to win purely to cap Howard's unbridled optimism, for in that endless confidence, you can feel everything that's fine and unique about America.
SEABISCUIT (PG-13, 134 minutes) -- Contains sexual situations. Area theaters.
