Movie Review: ‘Moneyball’

The year is 1979, and Billy Beane fields, hits and catches like a champion. He is a champion.

There’s an unnerving nuance about “Moneyball,” an uneasiness that sticks long after the film has elapsed. It is nestled within the physique of the film, within its true intentions. “Moneyball” is a somber sports movie, about both winners and losers, but, most gloriously of all, “Moneyball” is a movie about self-reflection, and saying adieu to the past.

The general manager of the Oakland Athletics, Billy Beane (Brad Pitt), who sulks in an empty California stadium and does donuts in his pick-up truck, has only one goal: win. Once a baseball player himself, Beane never had what it took to reach his potential. Signing to the New York Mets out of high school, Beane was traded constantly before tossing his bat and glove and settling in as manager of the A’s. This career of failed beauty encompasses Beane; it is his raison d’être. He wakes up in the morning to redeem himself – and chew tobacco.

Based on the book of the same name by Michael Lewis, the film details the 2002 season of the Oakland A’s as Billy Beane and Peter Brand (played by a skittish Jonah Hill) jaunt to reinvent the game of baseball.

But, “Moneyball” isn’t so much about baseball as it is about the dynamics of the game and how the characters change.

“Baseball thinking is medieval,” Brand says to Beane. Based on numbers, some statistics and calculations, they develop a strategy: build a team of 25 players they can both afford and win with. And, after a rough start, win they do.

“Moneyball” is a different breed of sports film; it is the story of Billy Beane’s plight, not that of the A’s. Fortunately, the A’s find themselves impacted by Beane’s exploits, and, imaginably, have an astounding season.

However, the movie is not completely devoid of sports film clichés, as we see in several inescapable training montages and a couple slow motion scenes. But, the scenes are not painstakingly unwatchable by any means. In fact, there are several enamoring scenes in which an angelic white spotlight singles out players, outfitting them with temporary powers from the baseball gods.

From a keen script by Steven Zaillian and Aaron Sorkin (“The Social Network”), and under the direction of Bennett Miller (“Capote”), the film is bountiful with rich dialog, moving the plot forward with spot-on pacing. The soundtrack seamlessly blends into the fresh dialog, peaking when appropriate. The only song with words, performed by Beane’s daughter (Kerris Dorsey), closes the film in a most delightedly poignant manner.

As the 2002 A’s season comes to a close, Beane does succeed; he changes the game. But he doesn’t win. His notion of self-redemption, of a second chance at his failed career, remains intangible, and his defeat is what makes “Moneyball” novel.

“How could you not be romantic about baseball?” Beane asks. Indeed, how? With all of its analytical and existentialist beauty, how?

Grade: B+