| “The Natural” (1984) — movie review |
| Today’s review is for the baseball drama “The Natural” (1984), directed by Barry Levinson and starring Robert Redford as Roy Hobbs (a gifted ballplayer whose life is derailed by tragedy and revived by a late-in-life baseball comeback); Glenn Close as Iris Gaines (Roy’s childhood sweetheart and moral anchor); Robert Duvall as Max Mercy (a cynical sportswriter digging into Roy’s past); Kim Basinger as Memo Paris (the alluring but dangerous distraction tied to the team’s corrupt owner); Wilford Brimley as Pop Fisher (the gruff, long-suffering manager of the struggling New York Knights); and Richard Farnsworth as Red Blow, Roy’s loyal coach and friend; Robert Prosky as “The Judge” (the team’s scheming co-owner who profits if the Knights lose); and Darren McGavin as Gus Sands (a smooth, ruthless gambler who tries to pull Roy into a fix). Together, they inhabit a mythic version of 1930s baseball where talent, temptation, corruption, and redemption collide under stadium lights. |
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| Background: I first saw “The Natural” sometime in the late-1980s, probably on TV, and I remember being struck by the imagery long before I understood the story. Over the years, the film has become one of the most recognizable baseball movies ever made. Released in 1984, it received four Academy Award nominations — Best Supporting Actress (Glenn Close), Best Cinematography, Best Original Score (Randy Newman), and Best Art Direction — though it didn’t win any. Historically, the film is notable for its lush, romanticized portrayal of baseball as American mythology, its iconic final scene, and its influence on how later sports films frame heroism. It’s also loosely based on Bernard Malamud’s novel, though the film opts for a more uplifting ending than the book’s darker conclusion. |
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| Plot: The story begins with young Roy Hobbs, a small-town pitching prodigy whose future seems limitless. On his way to a tryout with the Chicago Cubs, he is seduced and then shot by a mysterious woman, derailing his career before it begins. Sixteen years later, Roy reappears as an unknown rookie signed by the struggling New York Knights. Despite his age and obscurity, Roy’s natural talent quickly turns the team around, much to the frustration of the corrupt owner who profits when the Knights lose. Roy’s success draws the attention of Max Mercy, a sportswriter who suspects there’s more to Roy’s past than he’s letting on. As Roy falls under the spell of Memo Paris — whose connections to gamblers and the team owner threaten to destroy him — his performance falters. Only when Iris re-enters his life does Roy begin to reclaim his purpose. The film builds toward a climactic, win-or-lose at bat in a game where Roy, injured and facing immense pressure, must decide whether to give in to corruption or play for honor. The final at-bat — bat splintering, sparks flying, lights exploding — is pure Hollywood myth-making, but it works. |
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| So, is this movie any good? How’s the acting? The filming / FX? Any problems? And, did I enjoy the film? Short answers: Yes; very good; beautiful and old-fashioned; a few; yes. |
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| Any good? Yes. “The Natural” is a classic sports fable, told with sincerity and a sense of wonder that modern films rarely attempt. It’s not gritty realism; it’s baseball as legend. The themes of second chances, integrity, and the cost of lost time still resonate. Some moments feel melodramatic, but the film’s heart is in the right place, and its emotional beats land more often than not. The final act, in particular, remains one of the most memorable in sports cinema. |
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| Acting: Redford carries the film with his quiet charisma. His Roy Hobbs is humble, wounded, and determined, and while he may look a bit too old for a rookie, his performance sells the character’s inner life. Close is luminous in a small but crucial role; her presence elevates every scene she’s in, and her Oscar nomination was well-deserved. Basinger brings a seductive, dangerous energy to Memo, though the character is written more as a symbol than a person. Brimley is terrific as Pop Fisher — gruff, funny, and believable as a man who’s seen too many seasons slip away. Duvall’s Max Mercy is sharp and cynical. Overall, the cast fits the film’s mythic tone. |
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| Filming / FX: The cinematography by Caleb Deschanel is gorgeous. The golden-hour lighting, the slow-motion shots, and the glowing stadium lights give the film a timeless, almost dreamlike quality. The baseball scenes are staged cleanly and effectively, with just enough realism to ground the fantasy. Randy Newman’s score is iconic — one of the great sports themes of all time — and it does a lot of emotional heavy lifting. There are no modern “FX,” but the practical lighting effects in the final scene still look good, even if they’re a bit theatrical. The film’s visual style leans heavily into nostalgia, and it works. |
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| Problems: A few. The film’s mythic tone sometimes drifts into sentimentality, and the characters can feel more like archetypes than fully developed people. The middle section slows down, especially during Roy’s slump and his entanglement with Memo. The villains — gamblers, owners, and hangers-on — are painted with broad strokes. And while the ending is emotionally satisfying, it’s also pure fantasy, especially if you’ve read the novel. Still, these issues don’t sink the film; they’re just part of its old-school charm. |
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| Did I enjoy the film? Yes! “The Natural” is one of those movies that feels like a warm memory — even if you’ve never seen it before. It’s earnest, beautifully shot, and has strong performances. The baseball action is fun, the emotional beats land, and the final scene remains iconic for a reason. It’s not perfect, but it’s a film I can re-watch every few years and still find something to appreciate. (And that score… still gives one (me) chills.) |
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| Final Recommendation: Highly recommended. “The Natural” stands as one of the most beloved baseball films ever made, notable for its Oscar-nominated performances, its gorgeous cinematography, and its unforgettable score. Watch it for Redford’s understated performance, Close’s quiet strength, Brimley’s gruff humor, and the film’s ability to turn a simple game into a story about hope, redemption, and the dreams we carry across a lifetime. |
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| Click here (13 March) to see the posts of prior years. I started this blog in late 2009. Daily posting began in late January 2011. Not all of the days in the early years (2009-2010) will have posts. |
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Kevin Barrett's Blog 
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