496 reviews
After the American Depression, the millionaire Charles Howard (Jeff Bridges) gets married again with Marcela (Elizabeth Banks) and decides to invest in a race horse. He gathers the old couch Tom Smith (Chris Cooper), the problematic jockey Red Pollard (Tobey Maguire) and the horse Seabiscuit, all of them losers, and he believes on them, giving a second chance to them. Seabiscuit becomes a winner and legend in a difficult period of the American life. "Seabiscuit" is a beautiful film with positive and wonderful messages. Charles Howard has the best lines, such as: "When the little guy doesn't know that he is little, he is capable of big things"; or, "Sometimes all somebody needs is a second chance". The excellent and underrated actor Chris Cooper has probably his best performance along his career. Although having 141 minutes running time, the viewer does not feel time passing. I particularly liked not only the direction, performances, locations and reconstitution of a period, but mainly the never corny and very positive messages in the excellent lines and screenplay. My vote is eight.
Title (Brazil): "Seabiscuit Alma de Herói" ("Seabiscuit Soul of Hero")
Title (Brazil): "Seabiscuit Alma de Herói" ("Seabiscuit Soul of Hero")
- claudio_carvalho
- Dec 24, 2004
- Permalink
I have not read the book or anything about the story this movie was based on - I might have to now since I enjoyed the movie so much. The point of my writing this is to say: if you haven't read the book, you will probably like this movie. I'm sure the book portrayed so much more, but I don't think you can directly compare movies and books. In most cases, I have never loved a movie as much as a book - but that doesn't mean the movie should be disregarded. In some cases emotion can be better portrayed on film. (please note that all my "quotes" are paraphrased from what i remember and only set aside in " " to distinguish it from my writing).
That said, I completely disagree with the first reviewer above who did read the book first. I really DID get the message about what Seabiscuit represented at that time: a second chance, rising above expectations against all odds, and most of all - HOPE. When I told someone I just saw Seabiscuit, they said, "oh, that's about the horse, right?" and I said, "no, it's really a story of hope and rising above tough circumstances - but there is a horse in it." I was surprised at how much history and how many images of the depression were gracefully woven into Seabiscuit. I thought it worked very well and added to the realism of the film.
I also definitely understood that Red Pollard's family was wealthy, and that they lost everything in the depression. It's pretty obvious - the whole family is shown around a great big dinner table in a very nice house; his father even buys him his own horse. Next time you see them, they are basically living out of their car with a whole bunch of other folks doing the same - a kind of depression era makeshift camp.
It's also made clear later on in the movie that he never saw his family again - there are auditory flashbacks to his parents saying they will call him; how he almost dumps all his books into the water; the fact that next time we see him he's a young man and there's no mention of his family ever again in the movie. Seems like they just disappeared - and they did. Red also displays anger and frustration that is noticed by other characters. To me, this points to a sense of abandonment by his family.
Also unlike the other reviewer, I DID care a lot about the race with War Admiral - in fact, i almost had to just skip to the end first because I was so nervous about it! This was NOT just a story of profit. In fact, it never seemed like that was Howard's goal at all - his goal was to prove that the underdog can and will win - to prove that heart and spirit mattered as much as (or even more than) wealth and breeding. That seemed to be the point of the match race with War Admiral.
This is a story of rising above profit to reach an even greater goal. It's an uplifting story, as you can see in the crowd's faces as Howard tells them, "just because he's beaten down by a nose, doesn't mean he's out." and "When the little guy doesn't know he's the little guy, he can do great big things." You can picture the men and women, unemployed and hungry, telling themselves these same words. Things will get better; we may be down, but we're not out. In the words of Tom Smith, "You can't throw a whole life away, just because it's banged up a bit." Red's words at the end are touching as well, "seabiscuit fixed us, and in a sense we fixed each other.'" Red overcame his anger, his fear, his sense of hopelessness. So did Seabiscuit. And if they can, so can you.
That said, I completely disagree with the first reviewer above who did read the book first. I really DID get the message about what Seabiscuit represented at that time: a second chance, rising above expectations against all odds, and most of all - HOPE. When I told someone I just saw Seabiscuit, they said, "oh, that's about the horse, right?" and I said, "no, it's really a story of hope and rising above tough circumstances - but there is a horse in it." I was surprised at how much history and how many images of the depression were gracefully woven into Seabiscuit. I thought it worked very well and added to the realism of the film.
I also definitely understood that Red Pollard's family was wealthy, and that they lost everything in the depression. It's pretty obvious - the whole family is shown around a great big dinner table in a very nice house; his father even buys him his own horse. Next time you see them, they are basically living out of their car with a whole bunch of other folks doing the same - a kind of depression era makeshift camp.
It's also made clear later on in the movie that he never saw his family again - there are auditory flashbacks to his parents saying they will call him; how he almost dumps all his books into the water; the fact that next time we see him he's a young man and there's no mention of his family ever again in the movie. Seems like they just disappeared - and they did. Red also displays anger and frustration that is noticed by other characters. To me, this points to a sense of abandonment by his family.
Also unlike the other reviewer, I DID care a lot about the race with War Admiral - in fact, i almost had to just skip to the end first because I was so nervous about it! This was NOT just a story of profit. In fact, it never seemed like that was Howard's goal at all - his goal was to prove that the underdog can and will win - to prove that heart and spirit mattered as much as (or even more than) wealth and breeding. That seemed to be the point of the match race with War Admiral.
This is a story of rising above profit to reach an even greater goal. It's an uplifting story, as you can see in the crowd's faces as Howard tells them, "just because he's beaten down by a nose, doesn't mean he's out." and "When the little guy doesn't know he's the little guy, he can do great big things." You can picture the men and women, unemployed and hungry, telling themselves these same words. Things will get better; we may be down, but we're not out. In the words of Tom Smith, "You can't throw a whole life away, just because it's banged up a bit." Red's words at the end are touching as well, "seabiscuit fixed us, and in a sense we fixed each other.'" Red overcame his anger, his fear, his sense of hopelessness. So did Seabiscuit. And if they can, so can you.
- jacqsantora
- Feb 21, 2005
- Permalink
Based on the best-selling novel Seabiscuit: An American Legend by Laura Hillenbrand, Gary Ross directed 'Seabiscuit' is a film with a Spirit! It's a courageous true-story, that also makes a moving film. The Direction, The Cinematography, The Performances, all pitch in nicely.
'Seabiscuit' tells the story of Three men, who, come together, respectively, as the principal jockey, owner, and trainer of the championship horse Seabiscuit, rising from troubled times to achieve fame and success through their association with the horse.
Gary Ross's Adapted Screenplay, manages to make a worthy true-story into a worthy film. The characters, The Horse itself, are wonderfully explained. However, the film definitely could've been trimmed, by at least 10-15 minutes. Ross's direction deserves brownie points, as well. John Schwartzman's Cinematography is gorgeous. Editing is good. Art-Design seems perfect.
Performance-Wise: Tobey Maguire is dependable. Jeff Bridges is natural & restrained throughout, while Chris Cooper is simply fantastic. Elizabeth Banks is passable. Gary Stevens & William H. Macy are fair.
On the whole, 'Seabiscuit' comes up a winner in it's intentions. Go, get moved!
'Seabiscuit' tells the story of Three men, who, come together, respectively, as the principal jockey, owner, and trainer of the championship horse Seabiscuit, rising from troubled times to achieve fame and success through their association with the horse.
Gary Ross's Adapted Screenplay, manages to make a worthy true-story into a worthy film. The characters, The Horse itself, are wonderfully explained. However, the film definitely could've been trimmed, by at least 10-15 minutes. Ross's direction deserves brownie points, as well. John Schwartzman's Cinematography is gorgeous. Editing is good. Art-Design seems perfect.
Performance-Wise: Tobey Maguire is dependable. Jeff Bridges is natural & restrained throughout, while Chris Cooper is simply fantastic. Elizabeth Banks is passable. Gary Stevens & William H. Macy are fair.
On the whole, 'Seabiscuit' comes up a winner in it's intentions. Go, get moved!
Roger Ebert says he has a theory that `people more readily cry at movies not because of sadness, but because of goodness and courage.'
This is certainly a reason why Gary Ross's Seabiscuit tugs so effectively at the heartstrings. But the main one is the way the movie shows the triumph of the underdog spread fourfold among three men and a horse. And again the timing is right in the American release. Just as Danny Boyle's 28 Days Later was delightful because it was a low budget movie that could compete with a lot of loud and dubious blockbusters, Seabiscuit earns our gratitude by being a blockbuster without explosions or exhibitionism, an epic of restraint, modesty and -- yes -- `goodness and courage.' The loudest sound you hear is the starting bell for the races. There are those of us, mainstream folk, who've been starving for such fare. I saw people in the audience in the early matinee who plainly were alive in 1929 and 1938, and they wept and applauded throughout with awe and gratitude. We shall see how the younger generations respond.
An enthusiastic response is justified. There is nothing in Seabiscuit that's very original; it awakens involuntary flashbacks to many traditional Rocky-esque sports biopics as one watches. But Gray and his chief collaborators, the talented author Lauren Hillenbrand and the splendid cast headed by Jeff Bridges, Chris Cooper, and co-producer Tobey McGuire, have nonetheless provided us with a quite wonderful movie, as much for its surefire writing and brilliant editing as for any of the acting.
Everyone must agree that the three men behind the most famous horse of his time are played by three of the best actors Hollywood now has to offer. Critics are in accord in saying Cooper's performance is the subtlest and the most real: he models the principle that Less is More. Tobey McGuire isn't given quite enough to do; his greatest accomplishment may be his lean look; he's barely recognizable, and as a former redhead myself I don't think the dye job is as bad as some have claimed. Bridges is, in his way, magnificent, but glossily iconic and therefore somewhat opaque. His resemblance to Franklin D. Roosevelt is pushed a bit too hard, as is the whole uplifting populist message - the `we didn't fix the horse. He fixed us - and we fixed each other,' and `sometimes all somebody needs is a second chance,' stuff. (It's pretty corny. But within the context of this beautifully made movie that believes in itself, we buy it.)
It's important, anyway - if young people do come to see Seabiscuit - for them to get the simplified, but nonetheless just portrait of the times provided with authentic stills and footage, and the voiceover narration by iconic historian David ("The Civil War") McCullough. The travelogue of the Depression and Prohibition years includes a quiet but heartfelt plug for FDR and that, too, is moving, especially in today's post-Yuppie mood of numbingly exploitive jingoism.
Indeed each of the three actors gives a powerfully understated performance - they're like thoroughbreds who're never given their head - whose litotes (a word schoolboys learned back then) enhances the movie's epic quality by never letting us forget that their triumphs were snatched from deprivation and adversity.
The long time devoted to the three men's backgrounds early in the movie isn't ill spent. It establishes the leisurely pace that is the essence of epic. But these back-stories aren't as necessary as the filmmakers may have thought. And despite the slow movement, there isn't deep detail. There's barely one scene to establish Red Pollard's (McGuire's) literate, close-knit family before he's cast (heartbreakingly) out of it. Charles Howard's (Bridge's) loss of his son is too telegraphic, though it's a fine touch to show him wailing with the boy's body but with his voice barely audible: it's one more example of the movie's sense of the period and of its restraint.
Right from the first the horse races are astonishing in the camera's closeness and vividness, the way we feel the danger and physicality of the jockeys' brutal competition with one another. Since we know Pollard is a failed prizefighter and general scrapper, we take in stride that fact that he's physically fighting with other jockeys during the early races. This is a movie about horse racing and the races had better be terrific, and they are. It's when we see the power of those sequences that we realize Seabiscuit has the makings of a popular classic.
Jeff Bridges' performance in particular seems etched in stone. There are touches of Jimmy Stewart, Joseph Cotton, even Orson Welles in his role and his looks. The chameleon Bridges comes carrying traces of Coppola's Tucker, but he has entered into the period and the tradition with utter conviction. Cooper's austere minimalism, because it is the essential spirit of the movie, its understatement (litotes), is the central performance. He is a man who communicates better with horses than with men. McGuire's performance is the noisiest, but he too reflects the social restraints of the period, and his wings are clipped before the final triumph can take place. This was a time when people had superiors and recognized it by calling them Sir and Mister. Everyone male wore a suit and tie, even jockeys off duty.
Seabiscuit's ability to tug at the heartstrings first appears when Red Pollard is let go by his destitute father so he can be a jockey. The moment is deeply sad because what seems an act of heroic renunciation by a loving parent is in fact abandonment, and it feeds the young man's rage thenceforth. And it's more complex than that because it grows out of the enormous pressures of the Depression, a time when millions in America wandered westward deprived of everything but their cars and a few possessions.
Not only Bridges' performance but whole sequences of Seabiscuit seem etched in stone and contain examples of textbook-perfect editing that possesses sweep and complexity and advances the story while keeping our focus on the prevailing mood.
This is, of course, the classic American story of triumph out of defeat and resolution out of conflict. As is a little too clearly pointed out, all three men, Charles Howard, Tom Smith, and Red Pollard, have had great devastation and loss in their lives (echoed by the whole country's economic devastation, failure, and loss of nerve; and it's implied -- with some failure of restraint -- that Seabiscuit's underdog triumphs were as needed as the New Deal). Their horse was rescued by Smith (Chris Cooper) when it was going to be shot because it seemed unruly and untrainable. Out of all this failure and tragedy the men forge their victories: Seabiscuit, the horse that lacked breeding, was untrainable, and was `too small'; Pollard, abandoned by his parents, beaten in many prize fights, secretly blind in one eye and `too big' to be a top jockey; Smith, a gifted horse tamer and trainer reduced to riding the rails and hoboing; Bridges, the self-made millionaire devastated by the destruction of all his hopes in a ruined economy and the sudden death of his young only son. They bond together to make Seabiscuit into one of the greatest racehorses in history. Who wouldn't be moved by this? Only the conventional fat man who's War Admiral's snobbish Maryland owner. It's all about heart, and Seabiscuit's got it.
William H. Macy's caricatured portrait of an alcoholic radio announcer is a highlight, in the sense of a bright spot on a painting. It's a shrill and brittle performace that we tolerate because of the moments of relief Macy's little comic vignettes provide. Subtlety is sacrificed to provide an effect, and to brush in a bit of humor amid all the earnestness. One only wishes there were more of a progression; that the character didn't sip from the same bottle in every scene but got drunker, or soberer, as things went along.
We have to allow for the exigencies of filmmaking that required ten horses to be used for Seabiscuit, leading to the irony that this unique horse is a composite.
If you accept its conventionality, Seabiscuit is not just a good movie but a great one.
This is certainly a reason why Gary Ross's Seabiscuit tugs so effectively at the heartstrings. But the main one is the way the movie shows the triumph of the underdog spread fourfold among three men and a horse. And again the timing is right in the American release. Just as Danny Boyle's 28 Days Later was delightful because it was a low budget movie that could compete with a lot of loud and dubious blockbusters, Seabiscuit earns our gratitude by being a blockbuster without explosions or exhibitionism, an epic of restraint, modesty and -- yes -- `goodness and courage.' The loudest sound you hear is the starting bell for the races. There are those of us, mainstream folk, who've been starving for such fare. I saw people in the audience in the early matinee who plainly were alive in 1929 and 1938, and they wept and applauded throughout with awe and gratitude. We shall see how the younger generations respond.
An enthusiastic response is justified. There is nothing in Seabiscuit that's very original; it awakens involuntary flashbacks to many traditional Rocky-esque sports biopics as one watches. But Gray and his chief collaborators, the talented author Lauren Hillenbrand and the splendid cast headed by Jeff Bridges, Chris Cooper, and co-producer Tobey McGuire, have nonetheless provided us with a quite wonderful movie, as much for its surefire writing and brilliant editing as for any of the acting.
Everyone must agree that the three men behind the most famous horse of his time are played by three of the best actors Hollywood now has to offer. Critics are in accord in saying Cooper's performance is the subtlest and the most real: he models the principle that Less is More. Tobey McGuire isn't given quite enough to do; his greatest accomplishment may be his lean look; he's barely recognizable, and as a former redhead myself I don't think the dye job is as bad as some have claimed. Bridges is, in his way, magnificent, but glossily iconic and therefore somewhat opaque. His resemblance to Franklin D. Roosevelt is pushed a bit too hard, as is the whole uplifting populist message - the `we didn't fix the horse. He fixed us - and we fixed each other,' and `sometimes all somebody needs is a second chance,' stuff. (It's pretty corny. But within the context of this beautifully made movie that believes in itself, we buy it.)
It's important, anyway - if young people do come to see Seabiscuit - for them to get the simplified, but nonetheless just portrait of the times provided with authentic stills and footage, and the voiceover narration by iconic historian David ("The Civil War") McCullough. The travelogue of the Depression and Prohibition years includes a quiet but heartfelt plug for FDR and that, too, is moving, especially in today's post-Yuppie mood of numbingly exploitive jingoism.
Indeed each of the three actors gives a powerfully understated performance - they're like thoroughbreds who're never given their head - whose litotes (a word schoolboys learned back then) enhances the movie's epic quality by never letting us forget that their triumphs were snatched from deprivation and adversity.
The long time devoted to the three men's backgrounds early in the movie isn't ill spent. It establishes the leisurely pace that is the essence of epic. But these back-stories aren't as necessary as the filmmakers may have thought. And despite the slow movement, there isn't deep detail. There's barely one scene to establish Red Pollard's (McGuire's) literate, close-knit family before he's cast (heartbreakingly) out of it. Charles Howard's (Bridge's) loss of his son is too telegraphic, though it's a fine touch to show him wailing with the boy's body but with his voice barely audible: it's one more example of the movie's sense of the period and of its restraint.
Right from the first the horse races are astonishing in the camera's closeness and vividness, the way we feel the danger and physicality of the jockeys' brutal competition with one another. Since we know Pollard is a failed prizefighter and general scrapper, we take in stride that fact that he's physically fighting with other jockeys during the early races. This is a movie about horse racing and the races had better be terrific, and they are. It's when we see the power of those sequences that we realize Seabiscuit has the makings of a popular classic.
Jeff Bridges' performance in particular seems etched in stone. There are touches of Jimmy Stewart, Joseph Cotton, even Orson Welles in his role and his looks. The chameleon Bridges comes carrying traces of Coppola's Tucker, but he has entered into the period and the tradition with utter conviction. Cooper's austere minimalism, because it is the essential spirit of the movie, its understatement (litotes), is the central performance. He is a man who communicates better with horses than with men. McGuire's performance is the noisiest, but he too reflects the social restraints of the period, and his wings are clipped before the final triumph can take place. This was a time when people had superiors and recognized it by calling them Sir and Mister. Everyone male wore a suit and tie, even jockeys off duty.
Seabiscuit's ability to tug at the heartstrings first appears when Red Pollard is let go by his destitute father so he can be a jockey. The moment is deeply sad because what seems an act of heroic renunciation by a loving parent is in fact abandonment, and it feeds the young man's rage thenceforth. And it's more complex than that because it grows out of the enormous pressures of the Depression, a time when millions in America wandered westward deprived of everything but their cars and a few possessions.
Not only Bridges' performance but whole sequences of Seabiscuit seem etched in stone and contain examples of textbook-perfect editing that possesses sweep and complexity and advances the story while keeping our focus on the prevailing mood.
This is, of course, the classic American story of triumph out of defeat and resolution out of conflict. As is a little too clearly pointed out, all three men, Charles Howard, Tom Smith, and Red Pollard, have had great devastation and loss in their lives (echoed by the whole country's economic devastation, failure, and loss of nerve; and it's implied -- with some failure of restraint -- that Seabiscuit's underdog triumphs were as needed as the New Deal). Their horse was rescued by Smith (Chris Cooper) when it was going to be shot because it seemed unruly and untrainable. Out of all this failure and tragedy the men forge their victories: Seabiscuit, the horse that lacked breeding, was untrainable, and was `too small'; Pollard, abandoned by his parents, beaten in many prize fights, secretly blind in one eye and `too big' to be a top jockey; Smith, a gifted horse tamer and trainer reduced to riding the rails and hoboing; Bridges, the self-made millionaire devastated by the destruction of all his hopes in a ruined economy and the sudden death of his young only son. They bond together to make Seabiscuit into one of the greatest racehorses in history. Who wouldn't be moved by this? Only the conventional fat man who's War Admiral's snobbish Maryland owner. It's all about heart, and Seabiscuit's got it.
William H. Macy's caricatured portrait of an alcoholic radio announcer is a highlight, in the sense of a bright spot on a painting. It's a shrill and brittle performace that we tolerate because of the moments of relief Macy's little comic vignettes provide. Subtlety is sacrificed to provide an effect, and to brush in a bit of humor amid all the earnestness. One only wishes there were more of a progression; that the character didn't sip from the same bottle in every scene but got drunker, or soberer, as things went along.
We have to allow for the exigencies of filmmaking that required ten horses to be used for Seabiscuit, leading to the irony that this unique horse is a composite.
If you accept its conventionality, Seabiscuit is not just a good movie but a great one.
- Chris Knipp
- Jul 28, 2003
- Permalink
So here it is: a story about a horse that would give spirit to a whole nation, after the depression of the late 20's and early 30's. Make it a story where the horse and it's jockey have to overcome injury to win it's final great race, and you got your tearjerker (and, therefore, Oscar winner) right there.
But, somehow, 'Seabiscuit' is much more than that. What is definitely a help, is it's incredible cast. Tobey McGuire once more shows he's one of the better youngsters around in Hollywood, and old-timers Jeff Bridges and Chris Cooper will do the rest for ya, even though Cooper is not at his best here as Tom Smith, the trainer for the horse. Then there's William H. Macy in a hilarious role as 'Tick Tock McGlaughlin', a radio presenter.
The life-story we follow the most though is that of Charles Howard (Bridges), owner of the horse. As a self-made millionaire selling cars, who lost his son due to a car-accident, he finds a little bit of joy back to life, with his new wife and his new love, the horsing business. His inspirational speeches make 'Seabiscuit' a crowd-pleaser, in particular that of the 'common people', who recognize themselves in the little horse.
As said, the movie is a little bit too much of a happy ending story to really make it into the 'classic' category, but the movie looks great and hasn't got a boring moment in it. Good acting all around therefore make it a very pleasant movie experience. Although the 7 academy award nominations were a little bit much...
7/10.
But, somehow, 'Seabiscuit' is much more than that. What is definitely a help, is it's incredible cast. Tobey McGuire once more shows he's one of the better youngsters around in Hollywood, and old-timers Jeff Bridges and Chris Cooper will do the rest for ya, even though Cooper is not at his best here as Tom Smith, the trainer for the horse. Then there's William H. Macy in a hilarious role as 'Tick Tock McGlaughlin', a radio presenter.
The life-story we follow the most though is that of Charles Howard (Bridges), owner of the horse. As a self-made millionaire selling cars, who lost his son due to a car-accident, he finds a little bit of joy back to life, with his new wife and his new love, the horsing business. His inspirational speeches make 'Seabiscuit' a crowd-pleaser, in particular that of the 'common people', who recognize themselves in the little horse.
As said, the movie is a little bit too much of a happy ending story to really make it into the 'classic' category, but the movie looks great and hasn't got a boring moment in it. Good acting all around therefore make it a very pleasant movie experience. Although the 7 academy award nominations were a little bit much...
7/10.
- TheOtherFool
- Dec 22, 2004
- Permalink
It's fitting that a film about underdogs giving it all they've got has been released among the standard summer action fare. No other movie this summer has capitalized upon the David vs. Goliath theme so thoroughly and effectively as `Seabiscuit' has.
The story of `Seabiscuit' is actually the tale of four long shots: Charles Howard (Jeff Bridges), a wealthy self-made man and natural salesmen who's suffered both personal and financial loss through the Depression, Tom Smith (Chris Cooper), an aging horse trainer unsure of his place in the world with the ending of the frontier, Red Pollard (Tobey Maguire), a short-tempered jockey with various handicaps against him, and Seabiscuit, an undersized mustang whose been mistreated his whole life.
It's the Depression, and times are hard on everyone. The assembly line philosophy of business is starting to squelch independent spirit and people are looking for anything to help escape the dreary day-to-day of life. During this maelstrom of hopelessness, horse racing quickly gathers favoritism among those wishing to witness a spectacle in otherwise bleak times. It's under these circumstances that the film's four main parties come together. Howard, seeking a new business venture in horse racing, hires Smith as his horse trainer and Pollard as his jockey, and upon Smith's insistence, purchases the ill-tempered Seabiscuit.
It's not long before Seabiscuit becomes the `little horse who could,' gaining favor among the sporting fans on the West Coast. But despite the popularity the mustang and his team gains, they are seen as just a cheap novelty by the East Coast horse racing elite, led by Samuel Riddle, owner of the 1937 Triple Crown Winner War Admiral. This mushrooms into a media circus as Howard tries to gain public favor in order to force Riddle to put his money where his mouth is.
The story should have felt cliched and by-the-numbers, but a funny thing happened: the film makers took a nearly forgotten moment in time and managed to invest it with immediacy and suspense. The near mythic meeting of Seabiscuit and War Admiral on November 1, 1938 at Pimlico is an extension of the movie's overall theme; Seabiscuit, the representative of underdog hopes and pioneering dreams, and War Admiral, the recipient of champion breeding and training, a product of assembly line thinking.
Bridges and Maguire give spirited performances, with their characters forming a father and son bond that both men desperately needed. Cooper, who won this year's Best Supporter Actor Oscar, can give this kind of performance in his sleep, bringing a quiet, stoic depth to the Smith character. The supporting cast is top drawer as well, especially William H. Macy as `Tick Tock' McGlaughlin, the initially skeptical radio sports commentor who becomes a full blown Seabiscuit supporter.
Director Gary Ross captures the time period marvelously, with broken human beings slowly recapturing their dignity and pride against a landscape of barren ruin. The conflicts are fought not on traditional battlefields, but atop magnificent beasts along a circular track, and Ross wisely utilizes this metaphor to full effect.
Many film goers this season will most certainly pass on `Seabiscuit,' choosing instead to see standard fare like `American Wedding' and `Tomb Raider: The Cradle of Life.' Others will undoubtedly avoid it because it looks to artsy to be entertaining. For whatever reason, it will be a shame that this film will not do well financially; the horse race scenes are some of the most intense I've ever seen, and the animals are pure poetry in motion.
9 out of 10 stars. A nearly flawless motion picture.
The story of `Seabiscuit' is actually the tale of four long shots: Charles Howard (Jeff Bridges), a wealthy self-made man and natural salesmen who's suffered both personal and financial loss through the Depression, Tom Smith (Chris Cooper), an aging horse trainer unsure of his place in the world with the ending of the frontier, Red Pollard (Tobey Maguire), a short-tempered jockey with various handicaps against him, and Seabiscuit, an undersized mustang whose been mistreated his whole life.
It's the Depression, and times are hard on everyone. The assembly line philosophy of business is starting to squelch independent spirit and people are looking for anything to help escape the dreary day-to-day of life. During this maelstrom of hopelessness, horse racing quickly gathers favoritism among those wishing to witness a spectacle in otherwise bleak times. It's under these circumstances that the film's four main parties come together. Howard, seeking a new business venture in horse racing, hires Smith as his horse trainer and Pollard as his jockey, and upon Smith's insistence, purchases the ill-tempered Seabiscuit.
It's not long before Seabiscuit becomes the `little horse who could,' gaining favor among the sporting fans on the West Coast. But despite the popularity the mustang and his team gains, they are seen as just a cheap novelty by the East Coast horse racing elite, led by Samuel Riddle, owner of the 1937 Triple Crown Winner War Admiral. This mushrooms into a media circus as Howard tries to gain public favor in order to force Riddle to put his money where his mouth is.
The story should have felt cliched and by-the-numbers, but a funny thing happened: the film makers took a nearly forgotten moment in time and managed to invest it with immediacy and suspense. The near mythic meeting of Seabiscuit and War Admiral on November 1, 1938 at Pimlico is an extension of the movie's overall theme; Seabiscuit, the representative of underdog hopes and pioneering dreams, and War Admiral, the recipient of champion breeding and training, a product of assembly line thinking.
Bridges and Maguire give spirited performances, with their characters forming a father and son bond that both men desperately needed. Cooper, who won this year's Best Supporter Actor Oscar, can give this kind of performance in his sleep, bringing a quiet, stoic depth to the Smith character. The supporting cast is top drawer as well, especially William H. Macy as `Tick Tock' McGlaughlin, the initially skeptical radio sports commentor who becomes a full blown Seabiscuit supporter.
Director Gary Ross captures the time period marvelously, with broken human beings slowly recapturing their dignity and pride against a landscape of barren ruin. The conflicts are fought not on traditional battlefields, but atop magnificent beasts along a circular track, and Ross wisely utilizes this metaphor to full effect.
Many film goers this season will most certainly pass on `Seabiscuit,' choosing instead to see standard fare like `American Wedding' and `Tomb Raider: The Cradle of Life.' Others will undoubtedly avoid it because it looks to artsy to be entertaining. For whatever reason, it will be a shame that this film will not do well financially; the horse race scenes are some of the most intense I've ever seen, and the animals are pure poetry in motion.
9 out of 10 stars. A nearly flawless motion picture.
- filmbuff-36
- Aug 12, 2003
- Permalink
The film is set in the 30s , economical crisis time , the 29 crack and the ¨Great Depression¨ . A lot of people have got starvation and distresses , although with President Franklyn D. Roosevelt and his ¨New Deal¨ America will retrieve its splendor . This is a story of rich and pauper people . It's a fable of hits and flops . The movie centers on a horse and a good rider (Toby McGuire) , the trainer (Chris Cooper) , the owner (Jeff Bridges) and his wife(Elizabeth Banks) and a journalist (Willian H. Macy). The movie is based on real events and there are various flashbacks developing the historical deeds .
In the motion picture there are humans emotions , drama , tearjerker and several horse races . Runtime film is overlong , two hours and some and though the picture is slow-moving , isn't boring , neither tiring . The final duel between two contender horses is overwhelming and exciting . War Admiral was played by one of his descendants, a gelding named Verboom . While the movie describes War Admiral as being a huge horse close to eighteen hands tall, the real-life War Admiral was well known for being one of the smallest sons of Man o' War . War Admiral was actually the same size as Seabiscuit , which was approximately fifteen hands tall . The flick is apt for everybody , because there isn't violence , nor murders , but agreeable feelings . The movie had nomination various Oscars but didn't get Academy Awards and attained a moderated success , though didn't failed at box office . Interpretation by Toby McGuire is cool , Chris Cooper is excellent, as always , and Jeff Bridges is nice . Randy Newman musical score is riveting , likeness to Jason Swartzman cinematography that is fascinating , too . THe picture was well directed by Gary Ross . Rating : 7,5/10 . Very Good , well worth watching . Better tan average .
In the motion picture there are humans emotions , drama , tearjerker and several horse races . Runtime film is overlong , two hours and some and though the picture is slow-moving , isn't boring , neither tiring . The final duel between two contender horses is overwhelming and exciting . War Admiral was played by one of his descendants, a gelding named Verboom . While the movie describes War Admiral as being a huge horse close to eighteen hands tall, the real-life War Admiral was well known for being one of the smallest sons of Man o' War . War Admiral was actually the same size as Seabiscuit , which was approximately fifteen hands tall . The flick is apt for everybody , because there isn't violence , nor murders , but agreeable feelings . The movie had nomination various Oscars but didn't get Academy Awards and attained a moderated success , though didn't failed at box office . Interpretation by Toby McGuire is cool , Chris Cooper is excellent, as always , and Jeff Bridges is nice . Randy Newman musical score is riveting , likeness to Jason Swartzman cinematography that is fascinating , too . THe picture was well directed by Gary Ross . Rating : 7,5/10 . Very Good , well worth watching . Better tan average .
As the depression era kicks in, Americans were grasping for any sort of inspiration they could get, enter equine supreme, Seabiscuit. Considered broken down, too small and untrainable, Seabiscuit went on to become a bastion of great racehorses and in the process bringing solace to those closest to it.
Back in 2003 upon its initial release, critics were very divided as to the merits of Seabiscuit as a picture. Some were concerned that this adaptation from Laura Hillenbrand's highly thought of novel missed too many crucial elements, others were merely touting the tired old charge of the film purely baiting Oscar (something that is levelled at every film in history about hope and second chances), the more astute critics of the time however lauded it as the delightful and inspiring piece that it is.
It would be churlish of me to not agree that Seabiscuit is laced with sentiment, rookie director Gary Ross barely wastes a chance to tug the heart strings and paint an evocative sequence, but if you have got it in you to accept this true story for its base emotional point, then it is one hell of a wonderful experience. Seabiscuit is not just about the equine beauty of the picture, it's also a fusion of three men's personal wavering, who for one reason or another need the horse for far more important crutches than those provided by financial gain, make no bones about it, Seabiscuit is a very human drama. Knowing how the picture will end never once becomes a problem, because the historical accuracy in the story makes one yearn for that grandiose ending, one to gladden the heart in the way it must have done to thousands upon thousands of Americans back in the depression era day.
Ross wisely chooses to filter in as much realism as he possibly can, archive stills and narration serve as exceptional points of worth to the narrative structure. Then there is the first rate cast to fully form the emotional complexities that Seabiscuit provides. Jeff Bridges, Tobey Maguire (waif like), Chris Cooper, Elizabeth Banks, top American jockey Gary Stevens and a splendidly jaunty William H Macy, all can rightly feel proud of their respective work on this picture. Yet it's with the thundering race sequences that Seabiscuit really triumphs best, magnificent beasts hurtling around the race track are excellently handled by Ross and his cinematographer, John Schwartzman, whilst a nod of approval must go to the sound department's efforts, for this is definitely one to give your sub-woofer a work out.
Seabiscuit was nominated for seven Academy Awards, winning none, perhaps the Academy also felt like those critics who thought it was trying too hard for a Golden Statue? But now after the dust has settled some years later, it pays to revisit Seabiscuit and judge it on its own emotional terms, for it's a tremendously well crafted picture that is of course as inspirational as it most assuredly is tender, a fine fine picture indeed. 9/10
Back in 2003 upon its initial release, critics were very divided as to the merits of Seabiscuit as a picture. Some were concerned that this adaptation from Laura Hillenbrand's highly thought of novel missed too many crucial elements, others were merely touting the tired old charge of the film purely baiting Oscar (something that is levelled at every film in history about hope and second chances), the more astute critics of the time however lauded it as the delightful and inspiring piece that it is.
It would be churlish of me to not agree that Seabiscuit is laced with sentiment, rookie director Gary Ross barely wastes a chance to tug the heart strings and paint an evocative sequence, but if you have got it in you to accept this true story for its base emotional point, then it is one hell of a wonderful experience. Seabiscuit is not just about the equine beauty of the picture, it's also a fusion of three men's personal wavering, who for one reason or another need the horse for far more important crutches than those provided by financial gain, make no bones about it, Seabiscuit is a very human drama. Knowing how the picture will end never once becomes a problem, because the historical accuracy in the story makes one yearn for that grandiose ending, one to gladden the heart in the way it must have done to thousands upon thousands of Americans back in the depression era day.
Ross wisely chooses to filter in as much realism as he possibly can, archive stills and narration serve as exceptional points of worth to the narrative structure. Then there is the first rate cast to fully form the emotional complexities that Seabiscuit provides. Jeff Bridges, Tobey Maguire (waif like), Chris Cooper, Elizabeth Banks, top American jockey Gary Stevens and a splendidly jaunty William H Macy, all can rightly feel proud of their respective work on this picture. Yet it's with the thundering race sequences that Seabiscuit really triumphs best, magnificent beasts hurtling around the race track are excellently handled by Ross and his cinematographer, John Schwartzman, whilst a nod of approval must go to the sound department's efforts, for this is definitely one to give your sub-woofer a work out.
Seabiscuit was nominated for seven Academy Awards, winning none, perhaps the Academy also felt like those critics who thought it was trying too hard for a Golden Statue? But now after the dust has settled some years later, it pays to revisit Seabiscuit and judge it on its own emotional terms, for it's a tremendously well crafted picture that is of course as inspirational as it most assuredly is tender, a fine fine picture indeed. 9/10
- hitchcockthelegend
- Mar 29, 2009
- Permalink
Unlike most people, I haven't had that many cases in which I didn't particularly rave over a good movie because it couldn't live up to the book....but that was the case here.
This is a good movie. I realize that, but Laura Hillenbrand's book, from which this movie is taken, is hands-down the best sports book I have ever read. So, I eagerly anticipated the movie. I found out what so many other people discovered when their favorite was made into a film: it can't live up to it. In fairness, no two-hour film can do justice to a good book.
In this case, there were many things the jockey, owner and trainer went through that made the story so compelling, and they weren't in the movie. I won't detail them. Just read the book. But you can't appreciate what these men and that gutsy racehorse really accomplished just by the film. It only scratches the surface.
I can accept those omissions because of time constraints but I cannot accept Hollywood inserting offensive language into the movie that was not in the book, such as a dozen usages of the Lord's name in vain, NONE of which was in the book. That's inexcusable.
The movie's strength was its beauty, just magnificently filmed. Man, this is a gorgeous film, from the first shot to the last. Director Gary Ross and Director Of Photography John Schwartzman put a lot of loving care into this film and it shows. The actors were fine, too. No complaints there.
If this film appealed to you, I cannot recommended the book enough. Please check it out.
This is a good movie. I realize that, but Laura Hillenbrand's book, from which this movie is taken, is hands-down the best sports book I have ever read. So, I eagerly anticipated the movie. I found out what so many other people discovered when their favorite was made into a film: it can't live up to it. In fairness, no two-hour film can do justice to a good book.
In this case, there were many things the jockey, owner and trainer went through that made the story so compelling, and they weren't in the movie. I won't detail them. Just read the book. But you can't appreciate what these men and that gutsy racehorse really accomplished just by the film. It only scratches the surface.
I can accept those omissions because of time constraints but I cannot accept Hollywood inserting offensive language into the movie that was not in the book, such as a dozen usages of the Lord's name in vain, NONE of which was in the book. That's inexcusable.
The movie's strength was its beauty, just magnificently filmed. Man, this is a gorgeous film, from the first shot to the last. Director Gary Ross and Director Of Photography John Schwartzman put a lot of loving care into this film and it shows. The actors were fine, too. No complaints there.
If this film appealed to you, I cannot recommended the book enough. Please check it out.
- ccthemovieman-1
- Feb 4, 2006
- Permalink
"Sea Biscuit" is a story about a long shot horse and a man who discover each other on the road to equestrian glory. An extremely rewarding journey though the lives of man and beast. Every aspect of human emotion, bonding and courage is explored with an "equine" tinge. Set in a time when horse racing is more passion than business, Seabiscuit glorifies the positive appeal of horse racing. Every derby event is an emotional doorway which lifts your spirits. Be it the Santa Anita or the Pimilco, you are just just hanging on the edge of your seat praying, vying and hoping for a Seabiscuit win. Such is the emotional grasp and visual brilliance of Gary Ross's direction and Scwartzman's cinematography. Being a thoroughbred race horse by birth, Seabiscuit treads the race track under the watchful eyes of trainer Tom Smith (played by Chris Cooper) and jockey Red Poddard (played by Tobey Mcguire). What follows is a sequence of predictable vicissitudes. Why! This movie wasn't advertised in the mystery genre either!
A frail looking (really) Tobey manages to deeply bond with the horse at least on screen, kudos indeed. Nobody else could have possibly fit into his role as well as he did, physically too. Chris Cooper is the silent marvel. There is a completely subtle tinge to his acting which lays low, yet beautifully exuberates class. Seabiscuit is simply one of those "silent' movies which just hurtles you beyond imaginable frontiers. Sit back and relax and let the long shot consume you.
A frail looking (really) Tobey manages to deeply bond with the horse at least on screen, kudos indeed. Nobody else could have possibly fit into his role as well as he did, physically too. Chris Cooper is the silent marvel. There is a completely subtle tinge to his acting which lays low, yet beautifully exuberates class. Seabiscuit is simply one of those "silent' movies which just hurtles you beyond imaginable frontiers. Sit back and relax and let the long shot consume you.
The story of Seabiscuit, one of the winningest horses of all time. This story is true, the events are true, the characters are real. Sure, things might be fictionalized for the entertainment value, but basically this is it! Seabiscuit was a symbol of hope during the Great Depression for people, a symbol that the underdog could win. It's a bad sign when people have to put their faith in a running horse, but I suppose that's how it was.
The characters each have their own outlook. Tom Smith (Chris Cooper), horse trainer: "every horse is good for something", even if that something is not racing. He's the optimist. Cooper is vastly under-appreciated as an actor.
Charles Howard (Jeff Bridges), automobile entrepreneur and amateur horse owner: "everyone needs a second chance", another optimist, though with much less pure motivation. And then Tobey MacGuire as jockey Red Pollard, he's just a blind drunk.
William H. Macy as Tick-Tock McLauchlin is the pessimist and cynic, calling Seabiscuit the "surprise in the punchbowl". But this is a happy story, so he's proved wrong. Interestingly, the great race is against War Admiral, which happens to be his uncle!
The characters each have their own outlook. Tom Smith (Chris Cooper), horse trainer: "every horse is good for something", even if that something is not racing. He's the optimist. Cooper is vastly under-appreciated as an actor.
Charles Howard (Jeff Bridges), automobile entrepreneur and amateur horse owner: "everyone needs a second chance", another optimist, though with much less pure motivation. And then Tobey MacGuire as jockey Red Pollard, he's just a blind drunk.
William H. Macy as Tick-Tock McLauchlin is the pessimist and cynic, calling Seabiscuit the "surprise in the punchbowl". But this is a happy story, so he's proved wrong. Interestingly, the great race is against War Admiral, which happens to be his uncle!
I can't say a bad thing about this movie. There wasn't a single moment that I didn't like. Everyone who acted in this movie did no less than perfection. The movie has so much depth, has so much feeling and emotion and none of it feels forced, phoney or corny/ham handed. The development of the characters and the plot feels very natural and real and the movie flows at a comfortable pace. It's a movie you can cry tears of joy about and not feel weird about it. And to think I was so naive and close minded that I didn't see it in the theater because I told myself, "Who wants to see a movie about a racehorse?" If only I'd known how ignorant that statement was. I'd pay several times the admittance to have seen this in the theater, just to have had that added experience of seeing it there. This movie easily makes my top 5 of all time and is probably the best movie I've ever seen, and although I've seen it a few times now I still have a strong emotional response to it every time I watch it and feel my appreciation of it not waning, but only enriching. This movie is truly a "Must See." I hope you like it as much as I do.
- toolapcfan
- Dec 5, 2004
- Permalink
Excellent sports drama about the intense relationship between a jockey and his horse. I loved this movie, but the fact that it is based on a true story makes it even better. If "Seabiscuit" wasn't based on true events, this movie would have looked like another classic Disney-movie. Don't get me wrong, there's nothing wrong with these kinds of movies, but what usually disturbs me, is the fact that they are so unbelievable and predictable.
Tobey Maguire gives an excellent performance as Red Pollard, the young but very talented jockey. Many other great performances in this movie by the always enjoyable Jeff Bridges, the outstanding Chris Cooper (Adaptation.) and the beautiful Elizabeth Banks (Spiderman) who plays Bridges' second wife.
Although this second Gary Ross-movie is less my kind of movie than "Pleasentville" was, I truly enjoyed watching it. He is an excellent director and outstanding screenwriter. I certainly would like seeing more of his work. Recommendable and enjoyable sports movie. Not exactly an intense and gripping drama, but worth a watch! 7,5/10
Tobey Maguire gives an excellent performance as Red Pollard, the young but very talented jockey. Many other great performances in this movie by the always enjoyable Jeff Bridges, the outstanding Chris Cooper (Adaptation.) and the beautiful Elizabeth Banks (Spiderman) who plays Bridges' second wife.
Although this second Gary Ross-movie is less my kind of movie than "Pleasentville" was, I truly enjoyed watching it. He is an excellent director and outstanding screenwriter. I certainly would like seeing more of his work. Recommendable and enjoyable sports movie. Not exactly an intense and gripping drama, but worth a watch! 7,5/10
- Travis_Bickle01
- Jun 17, 2005
- Permalink
A man makes a horse do things it can't do on its own. Not worth it. Just watched the Pixar movie Ratatouille instead. You get the same exact story but with food.
- tgreco-28582
- Jul 15, 2022
- Permalink
Seabiscuit is an old fashioned feel good film with Rockyesque aspirations of an underdog in a depression era USA which brings hope to a nation.
Charles Howard (Jeff Bridges) is a wealthy car dealer (shades of Tucker about Bridges role) who has suffered losses when the depression struck. Tom Smith (Chris Cooper) is a veteran trainer who fixes injured horses and Red Pollard (Tobey Maguire) a Canadian jockey blinded in one eye and has a short fuse.
Then there is Seabiscuit a mistreated and temperamental colt. Red and Seabiscuit who are both volatile become close and the horse racks up some impressive victories in the west coast and captures the public's imagination but there are more obstacles to overcome.
Director Gary Ross gives the film plenty of heart and sentimentality and just about gets away with it because the cast invest so much in the story despite some well worn clichés but uplifts you as the viewer.
Charles Howard (Jeff Bridges) is a wealthy car dealer (shades of Tucker about Bridges role) who has suffered losses when the depression struck. Tom Smith (Chris Cooper) is a veteran trainer who fixes injured horses and Red Pollard (Tobey Maguire) a Canadian jockey blinded in one eye and has a short fuse.
Then there is Seabiscuit a mistreated and temperamental colt. Red and Seabiscuit who are both volatile become close and the horse racks up some impressive victories in the west coast and captures the public's imagination but there are more obstacles to overcome.
Director Gary Ross gives the film plenty of heart and sentimentality and just about gets away with it because the cast invest so much in the story despite some well worn clichés but uplifts you as the viewer.
- Prismark10
- Oct 17, 2015
- Permalink
I just adore this film and everything about it! The acting is phenomenal and the horses, so elegant and majestic to watch. After Seabiscuit wins the race against War Admiral, no matter how many times I've watched this movie, I'm filled with overwhelming emotion as Biscuit gloriously begins his winning prance around the track.
It's a feel-great movie about rising up from desperate and sometimes, tragic circumstances to finding one's way with love, generosity, and plain old heart.
Don't miss it! In 2020, it's still relevant!
- schwartzesquire
- Aug 19, 2020
- Permalink
One of my favorite movies. Movies based off of books make me read the book, but with this, that isn't so. This movie and the Harry Potter ones are good enough that I don't need to read the book- and I read all the time.. avid reader. When I first watched it years ago, it was a little boring at the beginning. I now fast forward the beginning, as I already know it and want to watch the horse parts. I think horse people would like this movie more than non-horse people. But all movies will have people that like it and don't; different tastes and opinions, but I like this movie. There were inappropriate scenes that I'd hate when I was younger, but the horse racing is exciting. I think Seabiscuit wins... and that was like "Duh." Of course he wins. I like things that are odd/different and unlikely to succeed, so I liked the plot, the odd little horse, large jockey...
- Cherry1210
- Oct 17, 2007
- Permalink
Usually when the book of a film is made (A La Akiva Goldsman, "A Beautiful Mind) the makers feel the need to Hollywoodise it and take out the more objectionable elements, for this film the real story of Seabiscuit is so amazing that they had to actually remove some of the elements that were too Hollywood, such is the story of this marvellous little race horse.
Seabiscuit was a racehorse deemed too demanding by its original trainer and sold to Charles Howard, an automobile salesman. Howard hired Tom Smith, an unorthodox trainer who instinctively understood horses, who knew exactly what was required to get the best of Seabiscuit. Smith hired jockey Red Pollard to ride the biscuit and the combination of owner, rider and trainer would reap dividends, becoming a symbol of hope for America during the great depression, managing to beat all comers, with the the exception of the one horse that stood above the entire thoroughbred division, the mighty War Admiral.
This film is another of Dave Ross' excellent under-rated body of work, with a cast giving great performances, most notably Chris Cooper as the quietly all-knowing Smith. The story is fascinating, as the three different human characters, all with their own tragedies and problems, are told with passion, conviction and honesty, a rarity in film-making. The story of the other main lead, the biscuit, is also done with real skill, with the training and races handled superbly, managing to convey both the excitement and the inherent dangers in being a jockey at the end of the great depression.
This would have been considered a rank outsider for the best picture, had it contended in any other year when the "The Return of the King" wasn't contending, but just because it didn't win, don't let that put you off investing an hour and a half in one of the best true stories of all time.
PS. After watching the film I recommend you read the book, "Seabiscuit" by Laura Hillenbrand
Seabiscuit was a racehorse deemed too demanding by its original trainer and sold to Charles Howard, an automobile salesman. Howard hired Tom Smith, an unorthodox trainer who instinctively understood horses, who knew exactly what was required to get the best of Seabiscuit. Smith hired jockey Red Pollard to ride the biscuit and the combination of owner, rider and trainer would reap dividends, becoming a symbol of hope for America during the great depression, managing to beat all comers, with the the exception of the one horse that stood above the entire thoroughbred division, the mighty War Admiral.
This film is another of Dave Ross' excellent under-rated body of work, with a cast giving great performances, most notably Chris Cooper as the quietly all-knowing Smith. The story is fascinating, as the three different human characters, all with their own tragedies and problems, are told with passion, conviction and honesty, a rarity in film-making. The story of the other main lead, the biscuit, is also done with real skill, with the training and races handled superbly, managing to convey both the excitement and the inherent dangers in being a jockey at the end of the great depression.
This would have been considered a rank outsider for the best picture, had it contended in any other year when the "The Return of the King" wasn't contending, but just because it didn't win, don't let that put you off investing an hour and a half in one of the best true stories of all time.
PS. After watching the film I recommend you read the book, "Seabiscuit" by Laura Hillenbrand
- cosmorados
- Jun 14, 2008
- Permalink
Lovable movie. Story, acting, and rest of the all elements were great. Definetely one of the maquire's good movies. With a huge heart, intelligent writing and fantastic performances by all the cast, this is about as perfect as a movie can be.
- THE-BEACON-OF-MOVIES-RAFA
- Mar 16, 2020
- Permalink
A nice movie, but I've seen some decent TV movies which delivered the same feel-good message with similar whallop and cinematography.
The obvious use of different horses was also a little distracting. However, I liked that Chris Cooper who gave a fine performance in "The Bourne Identity" was in the film. Nice presence.
Good movie, yes, Special movie? No.
The obvious use of different horses was also a little distracting. However, I liked that Chris Cooper who gave a fine performance in "The Bourne Identity" was in the film. Nice presence.
Good movie, yes, Special movie? No.
Seabiscuit is truly one of the best biographies made, and it's not even about a famous person, it's about one of the best racehorses that ever lived. The film has a great cast including Jeff Bridges, Chris Cooper and even Tobey Maguire. Maguire was fresh off the first Spiderman film when he was cast, but he did some great acting in this feature.
The history involved in the making of Seabiscuit was tremendous, as a lot of time and facts went into the production; and having David McCullough narrate was great. There are points in the story that are sad, some that are funny and some are hard to believe. For a period film, they did a great job bringing it to life from book to film.
The history involved in the making of Seabiscuit was tremendous, as a lot of time and facts went into the production; and having David McCullough narrate was great. There are points in the story that are sad, some that are funny and some are hard to believe. For a period film, they did a great job bringing it to life from book to film.
- Hollywood_Yoda
- Oct 23, 2018
- Permalink
During the Depression, an undersized, "lazy" horse named Seabiscuit becomes a champion, lifting the spirits of both its team and that of the nation. Jeff Bridges plays the owner, Tobey Maguire the jockey and Chris Cooper the trainer. Valerie Mahaffey is on hand as the owner's wife.
Based on the real story, "Seabiscuit" (2003) is reminiscent in tone of another timeless historical drama starring Bridges, "Tucker: The Man and His Dream" (1988) by Francis Ford Coppola. I prefer the underrated "Tucker" because it's snappier and less vague, but "Seabiscuit" ain't no slouch.
Like the historically-based "Jeremiah Johnson" (1972) the manner of storytelling respects the intelligence of the viewer to sometimes read between the lines. One of the best parts is the build-up to the race with War Admiral and the thrilling race itself. Not knowing the real-life events, a couple of the twists were surprising. The first act, however, seems bogged down by extraneous details about the owner.
The film runs 2 hour, 19 minutes and was shot in California, New York and Kentucky.
GRADE: B
Based on the real story, "Seabiscuit" (2003) is reminiscent in tone of another timeless historical drama starring Bridges, "Tucker: The Man and His Dream" (1988) by Francis Ford Coppola. I prefer the underrated "Tucker" because it's snappier and less vague, but "Seabiscuit" ain't no slouch.
Like the historically-based "Jeremiah Johnson" (1972) the manner of storytelling respects the intelligence of the viewer to sometimes read between the lines. One of the best parts is the build-up to the race with War Admiral and the thrilling race itself. Not knowing the real-life events, a couple of the twists were surprising. The first act, however, seems bogged down by extraneous details about the owner.
The film runs 2 hour, 19 minutes and was shot in California, New York and Kentucky.
GRADE: B
When I saw this film back in 2003, I thought it was brilliant. But now, the brilliant minds of modern animation have shown me the truth. This is simply a reverse ratatouille. It's time to wake up sheeple.
- auggyobrien
- Jan 8, 2020
- Permalink