Million Dollar Baby

Jan. 15, 2006
Million Dollar Baby- Hillary Swank, Clint Eastwood, Morgan Freeman

Warning: Spoilers included.

Million Dollar Baby

“She grew up knowing one thing. She was trash.” Eddie Scrap-Iron Dupris’s (Morgan Freeman) voice describing Maggie Fitzgerald (Hillary Swank). The overlapping video is where she is picking up the leftover in a restaurant where she works as a waitress. When the customer looks back she says its for the dog. Cut to next scene, she is eating it in her dark, dingy house while saving every penny that she can. Barely 15 minutes into the film the plot has already been laid- Maggie wants Frankie Dunn (Clint Eastwood) to train her, who- fighting his own demons- is not quite into training girls, that too the one who is already 31. But as Maggie puts it she is 31 until her next birthday, it shows the humor, grit but most of all attitude of a dreamer. Dunn, even though overtly skeptical and distant, eventually gives in. The film paces through Maggie’s knock out fights, the good old southern friendship between Dunn and Dupris, the growing human-relation between Maggie and Dunn, as reflected through his concern that she should save money and buy a house. Then almost becoming conscious of giving her non-boxing-related advice Dunn adds that he just does not want her to make the same mistakes that he did. Maggie on her part, sticks to the condition that Dunn had put before agreeing to train her- “You don’t say anything. You don’t question me.” Maggie doesn’t question him but does do things that may not have Dunn’s direct approval. Like knocking out other fighters in quick fights, while Dunn struggles to get more fighters to fight her- no one’s willing - you know a quick fight just kills the reputation.

From early on you know that Maggie doesn’t quite have a family to count on, yet she unable to disconnect. Sample this- After a good fight she tells Dunn that she has bought a house, without a mortgage- “as you said.” She bought it for her “mama,” and Dunn, rather matter of factly says, “You are a good daughter.” She takes her mother and younger sister to the house. The sister right away complains of there not being a fridge or stove in the house while mother howls that she would stop getting the welfare and that “Why don’t you just gimme the money?” Maggie hands her the keys, “You want the money. Sell it,” words uttered under the breath, but assertively. Cut to next scene at her “mama’s” trailer house and mama obligingly says, “I’ll try and keep the house.” While Maggie assures, “I’ll send you some more money.” She wants Maggie to “Find a man. Live proper,” while Maggie just looks for some hint of appreciation and acceptance for being who she is, “I’m a fighter mama.” Maggie leaves with silent but powerful disgust on her face. It feels in that moment that Maggie’s illusion of her family just being happy for her is finally over and you hope that she never has to tolerate them again.

In one of the more brutal fights Maggie’ opponent, frustrated and agitated, hits her after the bell had rung for the round. Maggie is caught unawares, loses her balance, hits the edge of the stool and ends up in a vegetative state. Dunn, who while agreeing to train her had said, “You get your teeth knocked out, I don’t care” and “You go make your million dollars, I don’t care” suddenly is losing, as though a human relation again. The only thing that we know about is own daughter is that her name’s Katie and the father-daughter have been estranged for years. It seems that he is losing the real daughter again and he doesn’t want to let go.

The family duly shows up to get papers signed so that Maggie’s money is not mismanaged. As the brother, sister and other usual props look over, the mother puts pen in Maggie’s mouth to get her to sign the papers. Maggie finally gives her a piece of her mind and you wish if only she could walk away, literally on her two feet, as well. It is one of the scenes that de-romanticizes human relations in most unapologetic manner.

Earlier in the film, on her 32nd birthday Dunn again tried to dissuade Maggie, and uses the word sympathy for her. That’s the only time that she retorts back, “I don’t want charity. I don’t want favors.” Now, while lying helplessly as she contemplates killing herself, she tells Dunn, "I can't be like this Frankie." ... "I've seen the world..." "People chanted my name..." Knowing that Maggie through the film, you just know she cannot exist just because machines can keep her breathing. There is a stark difference between exiting and living and one doesn’t have to be in vegetative state to know it. The scene is a slap in the face of billions of us going through mundane, routinized motions, while postponing life...

The paradox at this juncture is that Dunn had clearly warned Maggie before taking her under his wing, “And don’t come crying to me if you get hurt.” And now he is the one finding it hard to let go. Until, Maggie bites her tongue and almost bleeds to death. Doctors somehow stablize her. And then, realizing her pain, Dunn himself injects her with fatal dose of adrenaline. And she dies in matter of moments. No unnecessary dialogues or drama. Just plain dead.

The aforementioned story could make film look dark and depressing. It is.

But it also so damn good that it makes you wonder if you have a dream; if you ever had a dream; did you ever live a dream; did you ever even try to live it; are you living it; are you living to live it? The film is brilliant and yet simple and vice versa. Though one could get into arguments of whether it was a murder; or whether suicide is justified under any circumstances; yet, it tells you, its none of your business. Let people decide for themselves. Not everything is for public consensus and/ condemnation. Let every human being just be.

The performances are a class apart. Swank had earlier proved her mettle in Boys Don’t Cry. And if you expect anything less than classic performances from Freeman and Eastwood, you need to first see something called movies and get a lesson on acting.

... despite everything, in the end, one just hopes that Maggie knew she wasn't trash. Far from it, she was a fighter. Just as (when towards the end Eastwood says "I killed her")--- Freeman tells Eastwood--- "Don't say that..." "....People die every day, Frankie. Mopping floors, washing dishes... and you know what their last thought is? I never got my shot."