It's just too bad that Helgeland can't go for broke and get his uniform as dirty as Jackie Robinson used to do.
The story isn't much more than a hit parade of "Shut up, racist" moments -- Alan Tudyk's opposing manager just oozes with venomous talk -- but its blunt force is enough to get the job done.
Drama
Well, perhaps Dennis Bradford's, Sharon Davis' and Aaron Haye's art direction does not offer an especially expansive celebration of the eras portrayed in this period piece, but the production value is still petty solid in capturing this time pretty distinctly, as well as handsomely, at least when backed by a warm visual style. Cinemark | The final product is simply way too formulaic to be all that interesting, for there is a certain sense of laziness to familiarity which waters storytelling down to the point of leaving the final product to feel almost like a TV feature. He finally selects Jackie Robinson(Chadwick Boseman), a promising young player currently with the Kansas City Monarchs of the Negro Leagues. "42" tells the story of two men-the great Jackie Robinson and legendary Brooklyn Dodgers GM Branch Rickey-whose brave stand against prejudice forever changed the world by changing the game of baseball. |
...Notice that I didn't point out that Brian Helgeland was also involved in the writing of the acclaimed "L.A. | Charming, funny when it needs to be (for relief), and emotional when it matters. Conflict is there, but it goes handled a little too safely, for although the telling of this tale is pretty engaging, there's only so much fleshed out attention to the race issues and sporting politics that drive the Jackie Robinson story, and that makes it easier to see the familiar aspects through the conflicts. May 7, 2014 January 6, 2014 In 1946, Branch Rickey (Harrison Ford) put himself at the forefront of history when he signed Jackie Robinson (Chadwick Boseman) to the team, breaking Major League Baseball's infamous color line. The editing style of this film was very unique and I admired that. Boseman captures Robinson's inner struggle, while Ford delivers his best performance in a while.
The film is so averse to bad news that it avoids mentioning that the Dodgers then lost the World Series to the Yankees. May 7, 2014 Your Ticket Confirmation # is located under the header in your email that reads "Your Ticket Reservation Details". Unlike the film "Moneyball," this film is a much grittier old-styled tone and sometimes films do that for style over substance, but "42" does it very very well. There are touching highlights in a film that is consistently engaging, maybe not to where the final product overcomes its issues and achieves the rewarding state that it could have claimed, yet decidedly to where this effort comes close enough to achieving its full potential to endear pretty thoroughly. March 2, 2019 As Rickey has insisted, Robinson must speak only with his actions on the field of play, and so he does, hitting a homer on opening day in Jersey City, an accomplishment boldfaced and underlined by a script that insists upon having his manager then comment, “He might be superhuman after all.” This is typical of the hyperbole and unnecessary inflation that infects the film as a whole.
Well, maybe it is mostly the fact that Coldplay is too anachronistic for this film set in the 1940s, because as passionate as this film is as a portrait of overcoming racism, at the end of the day, it's still a baseball film, and that sets quite the standard for whiteness. | | You know what, forget it, this film is white, because it also co-stars Harrison Ford, is co-produced by Kurt Russell, and is written and directed by the guy who was involved in writing "A Nightmare on Elm Street 4", "The Postman", "The Taking of Pelham 1 2 3", "Cirque du Freak", Ridley Scott's "Robin Hood" and "Salt", and just plain wrote and directed "A Knight's Tale" and "The Order".
Spring training in Florida is no picnic; his manager and other players shun him, he's unwelcome at the team hotel, forcing him to stay in a private home with a black family, and a good ol' boy drives by to warn that some fellas will be coming by to “do something” about him.
This particularly goes for Helgeland's direction, which may play a part in holding the final product back, thanks to atmospheric subtlety issues, but nevertheless endears with a spirited momentum that keeps entertainment value consistent, and broken up by sentimental moments that are genuinely respectful enough to move.
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