The Rocky Mountain Collegian

Media Credit: Submitted photo "Catch the chicken, Rock!" OK, it had to be said. Obligatory "Rocky" reference aside, Clint Eastwood's "Million Dollar Baby" is one of the best films made last year. Expect a knockout at this year's Oscars. [Click to enlarge]

Clint Eastwood's newest film, "Million Dollar Baby," is the work of a prolifically talented man who has the means and vision to create great cinema. Eastwood's Hollywood journey has been long and rambling, and he puts on display the craft, wisdom and savoir-faire of a veteran movie man who knows how to make a gripping story ring true.

Like his previous work, "Mystic River," which was nominated for Best Picture last year (and robbed), Eastwood's apocalyptic and tragic world-view is effectively communicated to the audience. Not only does Eastwood play hard-nosed, craggy-faced pugilists, he directs like one.

"Million Dollar Baby" is no exception. It is a boxing movie that interweaves the philosophy and nature of a brutal sport into the lives of two characters whose story travels beyond the boundaries of the ring.

Hilary Swank plays Maggie, a beaten-down Missouri girl who has known nothing but poverty and misuse all of her life. Her hillbilly family has little love or use for her and finding her place elsewhere has been frustrating. She finds refuge in the sweat-slicked thumps of the gym, where she remembers how to dream and learns how to fight.

Maggie latches onto Eastwood's character, Frankie, the archetypal bad-ass Spartan trainer, who has forgotten how to smile, but knows exactly how to win.

Frankie is haunted by the ghosts of past transgressions, and is a daily churchgoer who has a skeptical and sarcastic understanding of religion, God and mercy.

At first, he rejects her petitions for training, saying "girly tough ain't tough enough." After being rejected himself by his star fighter, Frankie is forced to recognize not only Maggie's grit and determination but his own need for her.

This movie honestly illustrates the power a relationship can have on two broken people. Frankie's and Maggie's lives have been filled with bitterness, but Eastwood, without holding any hands or buying any Kleenex, shows how friendship can bring happiness.

Don't misunderstand me; this is the farthest thing imaginable from a feel-good movie, but at its heart "Million Dollar Baby" works on a simple and hopeful idea. Sadly, the realm of disappointment, loss and pain never leaves the shadows and corners of this movie's world.

Although our heroes connect with one another, "Million Dollar Baby" is at times so ruthless and tragic that I wonder how much faith Eastwood really does have in happiness.

The cinematography complements the plot and action seamlessly. Using dark and interrupted lighting, "Million Dollar Baby" emits a moody coldness that mimics Frankie's icy attitude.

The fight scenes themselves are excellent and intense, shot to maximize the frantic energy, pulverizing punches and glitz that makes up the boxing world.

Each fight is fun to watch. The sound reverberates throughout the theater, coming at the audience from every angle and seating you ring-side.

On top of his directorial and acting laurels, Eastwood adds to his accomplishments by composing the mournful score that sharpens the film's potency.

A movie like this doesn't come along very often; it sports superb acting, highlighted by Swank's Oscar-worthy performance, tells a powerful story that carries the audience well, and even grapples with contemporary issues.

Best of all, everything is believable and human; not once does Frankie become a characterized marine drill sergeant or Maggie a dumb hick.

While Eastwood has created a style for himself that sometimes lacks compassion (especially toward his peripheral characters who never get fleshed out), he makes a movie that works compellingly.

"Million Dollar Baby" is too good to miss, but so hard to take.

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