Last night, looking for something to watch while eating dinner, I saw that Netflix had added The Natural to its list of Acclaimed Movies from The Past. I remembered liking the movie a lot as a kid, so I started it up.
My memory of this movie was pretty patchy. Like, Robert Redford got hurt somehow — maybe it had something to do with war? — and that made him an underdog, and there was some kind of sinister money plot, and at the end he hits an amazing home run and starts bleeding and manages to run the bases before he dies. Maybe?
The rewatch didn’t do this movie any favors. To start with, it’s little Roy Hobbs and his nobly poor farmer dad, and nobody else except the well-off farm girl Iris hanging around in worship. Where is Roy’s mom? No mom? Okay, maybe they’re just trying to keep this story succinct. Roy’s dad dies and lightning strikes the tree he died under. So Little Roy makes The Perfect Bat from the wood. Meanwhile, the soundtrack is earnestly aping Aaron Copland, which along with the Model T tells you that it’s the Olden Times, i.e., the early 20th century.
Roy Hobbs brands his bat WONDERBOY. So far what this movie seems to be missing is symbolism.
So cut to a few years later when Roy is off to make his fortune, but first he stops to have a midnight barn tryst with Iris. Then he gets on the train with…some dude who’s agenting him. A mysterious Woman in Black is on the platform. Some baseball insiders are in the dining car musing over a newspaper story that two sports greats have been mysteriously shot with silver bullets. I wonder if this will have any bearing on the story!
Roy and his agent get into a dick-wagging contest at a local fair with the baseball insiders, and Roy strikes out the legendary batsman. Back on the train (that was the longest half-hour water stop I ever heard of), the Woman in Black approaches Roy alone and draws him out so far as to say he intends to be The Best That Ever Was.
At their destination, the Woman in Black invites Roy to visit her in her hotel room, and he goes. She gets him to say again that he intends to be The Best, and then she lowers a black lace veil and shoots him.
TITLE CARD: 16 YEARS LATER
Roy shows up at the dugout of a washed-up team in New York with a scout’s contract, and Wilford Brimley, pissed off at getting sent an Old Dude, refuses to play him. But eventually he has to, and discovers that he is The Best. Suddenly the team becomes good. The co-owner tries to bribe Roy to suck so that he can buy out the team from Wilford Brimley, and Roy nobly refuses.
Meanwhile this whole time, Roy refuses to let on a) where he’s from, b) why he didn’t keep playing ball after high school, and c) what the hell he’s been doing with himself for 16 years. We know he didn’t go home because there’s a scene where a lonely Iris goes into a diner and sees a newspaper article about this sudden phenomenon. No matter how many times people ask him, he deflects the questions.
Then Roy’s rival on the team crashes through a wall trying to catch a fly in right field, and somehow this kills him? Which leaves Roy a clear path to Wilford Brimley’s daughter and a place on the starting lineup.
This is the halfway point of the film. I skimmed the cursor through the rest to see if there were some hope of a sensible plot, and I didn’t. So I noped out.
I can’t remember how Roy suffered the relapse of his wound in the side. Maybe the Woman in Black, annoyed at having failed to eliminate a Paragon of Masculinity, comes back for another try?
No doubt there was some kind of reveal when everybody finds out Roy’s Tragic Past, but it can’t be any less ridiculous than the build-up. Roy is too ashamed to admit to being the victim of a random malicious misfortune…why? Roy didn’t wind up back home…why? No newspaper article connected the dots with the other silver bullets…why? Roy’s agent mysteriously disappears at the point of the shooting…why?
It’s like Roy takes a 16-year hiatus for Doylist reasons, and his creators, the perpetrators of this plot, write it this way for Watsonian reasons.
I guess having your masculinity perforated is a fate worse than obscurity.
I must not have noticed the absurd misogyny of this plot when I was a kid because it read like randomness to me. After all, the potential is great. Robert Redford! as a baseball hero! facing incredible odds! in a dashing 1930s knickerbocker uniform! This could be great!
But you were failed hard, Roy Hobbs. No mom, no home community (highly improbable, WTF), no arc of team camaraderie, no war angst, no Great Depression angst, no best male friend, not even an honorable rival. Nope, just a lot of inept men and unfathomable femme fatales, a drab backdrop for the luminous Natural. If this were football there’d be flags all over the field. Illegal Succubus, Intentional Incomplete Use of Wilford Brimley (like, The Firm made better use of him, WTAF), Improbable Wounding, Running Out the Play Clock…I can’t even.
So, file this one under Beware Movies You Enjoyed As A Kid.
ETA: I went over to Wikipedia and read the rest of the plot summary. Oh my God, it only got more egregious from there. Two succubi and a Penelope. Oh, and Roy doesn’t actually die in the end; he lives to sire a line of Naturals while his loving long-lost Iris looks on. Well, at least the next generation has a mom. Baby steps?