Similar to “Miracle” and “61*,” “42” isn’t a particularly challenging sports movie, but it is thoroughly enjoyable and an important historical document. People very familiar with Jackie Robinson’s story will find it faithful and adequate, those somewhat familiar with it (like me) will enjoy it thoroughly, and it’s awesome that we now have a definitive chronicle of his breaking of Major League Baseball’s color barrier in 1947 to show to youngsters.
Most important in a historical film like this is authenticity, and that starts with Chadwick Boseman’s portrayal of Robinson. A photo of Robinson in the closing credits shows that actor and ballplayer have identical smiles. Boseman makes for a very likable Robinson. By all accounts, that’s historically accurate. Of course, Brooklyn Dodgers owner Branch Rickey hand-picked Robinson not only for his talents, but also for a likability that would cut through the racism — mostly casual, but sometimes quite aggressive — of the time.
Harrison Ford plays Rickey as if he’s parodying his own famous gruffness. The performance starts off unintentionally funny but ultimately provides genuine chuckles. In fact, I enjoyed all the broad nods to historical figures, including the womanizing Dodgers managers Leo Durocher (Christopher Meloni).
Ebbets Field and the other ballparks of the time are gorgeously rendered (unfortunately, the action never moves to Wrigley Field, the only National League park from that era still in existence), and radio announcer Red Barber (John C. McGinley) provides some classic color, such as noting that a pitcher is doing so well “he could throw a lamb chop past a hungry wolf.” The baseball action isn’t pitch-perfect, but it’s close enough; it’s mostly stylized, with the goal being a general flavor of the action rather than a lot of specific in-game drama.
As Philadelphia Phillies manager Ben Chapman, Alan Tudyk has the unsavory duty of being the movie’s most upfront example of racism, as he continually shouts the N-word at Jackie from the front step of the dugout. It leads to a great scene where Robinson — who everyone knows can’t fight back, as the racist press (there’s not much nuance there) will immediately blame him for any confrontation — breaks down in the hallway behind the Dodger dugout.
Ultimately, I think writer-director Brian Helgeland hits the sweet spot with “42,” perfectly capturing a simpler (for better AND worse) America — beautiful in many ways, but ugly in many ways. You’ll leave the theater with a feeling that in 1947 America was finally starting to get it right. That’s incredibly simplified, of course, considering some of the things that have happened since then — particularly in the last decade — but it’s a nice feeling nonetheless.