Redford, Glenn Close and Duval (as transcribed) are all no, and it might be no one; Darren McGavin might have been at his apex here if he had been credited.
A small case for Kim Basinger is rejected since LA Confidential, where she was nominated and the hosts are unsure whether she won, came at the tail end of her career, although this film moved her career to the next level.
A case is made for Brimley, which would stab Chris Ryan through the heart given The Firm; the hosts settle jokingly on his chest hair being an Apex Mountain.
Screenwriter Roger Towne is floated and met with 'didn't do much else', drawing only a 'sure, that was the best I could do'; Batboy Bobby is floated as a joke; Levinson's apex is Rain Man or Diner, and Redford's was judged All the President's Men in that earlier episode, though he won a directing Oscar for Ordinary People.
Darren McGavin went uncredited over billing; Randy Newman's theme; the clock homer was inspired by Bama Roel of the Braves; a six-minute-longer director's cut; the 'little boy in you' quote was Ray Campanella's; filmed at Buffalo's War Memorial Stadium; the Parkside Candy Store is real; 3,000 extras at $3.35 an hour plus cardboard cutouts; no one has hit the cover off a ball; the Savoy Special bat is at Cooperstown; Hobbs modeled on Ted Williams; the 1939 Pirates went 68-85; Bret Hart's catchphrase; the halo shot was real; Bobby the Batboy was found at a produce stand; Levinson voiced the radio announcer; the $20,000 bribe is $366,000 today
Darren McGavin was cast late and would have received lesser billing than the other stars, so he chose to go uncredited; the hosts call it idiotic pride over practicality, since his IMDB is Love Boat, Fantasy Island and Rockford Files.
Randy Newman wrote the theme, the I Love L.A. guy whose song lives on at Laker games; Hobbs breaking the scoreboard clock was inspired by Bama Roel (as transcribed) of the Boston Braves showering Dixie Walker with glass at Ebbets Field on May 30, 1946, and the Wrigley clock was not introduced until 1941.
A director's cut six minutes longer trims the Redford and Close opening and adds Bump Bailey and Gus scenes; one host would not have minded more Bump given his sudden death and the Memo factor; a tangent on Bump as a nickname lands on calling Jason Gallagher Bump.
Roy's line that a big leaguer needs a lot of little boy in him was a Ray Campanella (as transcribed) quote; the film was shot in Buffalo at War Memorial Stadium, built in 1937 and demolished in 1988, whose short right field limited wide shots, and TriStar spent $500,000 aging it; the hosts protest the demolition and note Buffalo was good enough for the film but not Antonio Brown.
The lemonade shop where Glenn Close takes Roy is the real Parkside Candy Store at 3208 Main Street in Buffalo, serving ice cream, homemade candy and sandwiches; this leads to a wife who judges places by their signs and an old-school milkshake spot near Pasadena.
About 3,000 extras were recruited at the $3.35 minimum wage and cardboard people in straw boater hats filled the rest of the stands; the Hall of Fame has no record of anyone hitting the cover off a ball; the Savoy Special was a 1930s beer brand, and the bat and the bloody uniform are at Cooperstown.
Whether Roy would really bleed through a 20-pound fire-retardant uniform is parked for a later category; Hobbs was loosely modeled on Ted Williams, lefty number nine, who wanted to be the greatest hitter who ever lived.
The real 1939 Pirates finished 68-85 and the Reds won the pennant at 97-57; Brett the Hitman Heart (as transcribed) took 'the best there is, the best there was, the best there ever will be' from this movie; the Glenn Close halo shot was timed to the setting sun, not CGI.
Bobby the Batboy was played by George Wilcoz (as transcribed), discovered at his parents' produce stand in Buffalo for his only movie, and he lingers two seconds too long after handing Roy the bat; Ruth Ann Steinhagen inspired Harriet; Barry Levinson did uncredited voice work as the Knights' radio play-by-play man.
The $20,000 bribe is about $366,000 in today's money; the hosts wonder what a stake in a 1939 team was worth to justify bribing everybody in sight, guessing the gambling money was worth nearly as much since there was no TV money.
Redford should not be in the first 20 minutes: he and Glenn Close are 20 years older than their characters, the weird lighting does not hide it, the train shots of young and older Roy look identical, and the Pittsburgh lefty or the boy who plays his son could have been 18-year-old Roy.
Nothing is worse than someone who cannot throw in a baseball movie: Roy's son is in the finals with Costner's dad in Field of Dreams for worst throwing motion, Tim Robbins gets a half pass for a torn rotator cuff, and the kid carries his glove around the living room yet cannot throw or catch.
Bump Bailey dying by running through a wall is ludicrous, recalling Fred Lynn hitting the Fenway wall in the 1975 World Series before padding went up; the death is explained by the Greek mythology and the need to remove him from Memo, plays 100% comedic with the ashes scattering, and Roy shows no emotional response.
Women are either destroyers or saviors, like the current Damien Chazelle experience; the Iris and Hobbs scenes are awkward and stilted with little chemistry, while he has more chemistry with Memo, with whom he has sex in a glass phone booth in a hotel lobby.
The stretch from the poisoning to 'suit up' is about 20 minutes of maternity ward with no mystery that Roy will play, like the hospital flaw in Rocky 2; it could be done in 10 minutes.
Nobody can figure out who Roy is without baseball reference or the internet, even though he was in an attempted murder and suicide with three other murders and Max, who prides himself on encyclopedic knowledge, literally met him; the same actor playing both ages makes it worse.
Ballpark security letting the note through, the ball and strike calls with no pitch framing, and the complete lack of diversity, set before Jackie Robinson, are also raised; one host asks why the 1984 film had to be set in 1939 rather than moved forward, the other likes the railroads and the Shoeless Joe hangover.
The final pick is how old Robert Redford is, with the son's throwing motion a good second, and the other host agrees Redford is too old for the first 20 minutes.
Basinger is in the final eight of a most-beautiful-woman-in-a-movie bracket, and her constant lip licking raises whether it is deliberate or just her essence; Diane Lane in Unfaithful is a similar case.
Brimley and Farnsworth as Pop and Red are perfect and some of the best stuff in the movie; it is sobering that Brimley was the same age as one host is now yet seems 78, and only about two years older than Redford in real life.
Hobbs played semi-pro ball for the Hebrew Oilers, prompting a hunt for t-shirts on Cafe Press or Redbubble; the Randy Newman score was Oscar-nominated, is instantly associated with the film, and gets yanked for NBA and World Series montages.
Basinger is named again, with a nod to Alec Baldwin and their handsome couple; Max Mercy, who never played sports but makes it more fun to watch, is a model for sports media, and the hosts imagine him resisting digital media at the New York Daily News, still drawing cartoons, before being wooed by Sirius for Mad Dog Radio or a podcast.
John Rhodes, the Pittsburgh lefty who is a Roy Hobbs spitting image with a good throwing motion, is great casting, and the slow-motion shot of the guys flying out of the dugout after the homer is an all-time favorite.
Roy Hobbs is a three-true-outcomes player for the modern era, homering, striking out or walking, like 2003 Bonds or a nine-WAR player with a 184 wRC+, though his defensive value would be poor since he is slow and unwieldy and his side hurts every time he reaches for a ball.
The old-school baseball fashion and aesthetics, especially the Cubs uniforms, have aged wonderfully, even though the heavy fire-retardant uniforms look as warm as wildling furs.
Iris as an independent spirit and trailblazing feminist: Roy gets her pregnant in the barn, proposes romantic bullshit and never returns, and she raises the boy alone in Chicago with a nice apartment, a job and a drugstore where they know her name, can get an usher to deliver a note, and still gets the guy at the end.
The final pick is Red and Pop, with a wish for 30 minutes of deleted dugout ad-libs or a mic'd-up game, or else the iconic score.
Hobbs versus the Whammer is fantastic; Joe Don Baker is the best Hollywood Babe Ruth, with the size, nose, gut and swagger, compared favorably to John Goodman; the scene dates to 1923, Ruth's 14-WAR MVP season, and both hosts prefer the Whammer as a cover rather than naming Babe Ruth, partly because a lefty would have been needed.
The foul tip taking out Duval (as transcribed), or rather the poor old catcher, with nobody wearing masks is noted, and Duval backing up twenty paces, to the Whammer's protest about how he will call it from there, is a classic moment.
Hobbs' first batting practice, with the Wonderboy clip played, is wonderful for three reasons: the sheer spectacle like Josh Hamilton in a home run derby, Brimley guzzling the filthy water he had complained about, and the 'I've been here every day' line that shows Roy is kind of a dick, entitled and owed something; Redford's swing was modeled on Ted Williams per the Roger Angel New Yorker piece (as transcribed), and he and Costner both looked like ballplayers.
Roy storming out of the meeting, deflowering Iris and immediately falling for the bad-luck niece after Pop's warning, then slumping, shows poor judgment with women and no understanding of birth control, which is excused as 1923.
Third on one list is Hobbs' first at bat, tearing the cover off the ball as the rain comes at the perfect time; the 'is this team alive' exchange between Red and Pop captures the rhythms of a baseball season when a team gets hot; Roy's batting-practice pitch and Max Mercy sprinting from his seat raise whether he could still pitch with the bullet in his side, answered with pain tolerance and no Toradol.
Other nominees: the lady in white scene with Glenn Close standing up, Hobbs' homer breaking the Wrigley Field clock, which did not exist until two years later, Brimley crossing Hobbs out of the lineup, Roy's last at bat, and the lightning bolt splitting the tree to forge Wonderboy, with the glowing stump called good special effects for 1984.
The 'losing is a disease' speech, comparing losing to syphilis and the bubonic plague, is hilarious, and the newspaper headline montages are praised for propelling the pace like Twitter or push notifications, though that is ruled to belong in what's aged the best.
One pick is the walk-off homer, the greatest chill scene of any sports movie, except perhaps Rocky getting up in the 14th round of Rocky 1; everything leading up to it, breaking Wonder Boy and 'pick me a winner, Bobby' with the Savoy special, is iconic.
The other pick, after 35 years of watching, is Hobbs showing up for the final game while Brimley shaves, with the 'suit up' clip played twice; a dad who calls whenever it is on to quote 'you're the best damn hitter I ever saw' is recalled.
Wilford Brimley's chest hair in that scene, and every scene, is like a forest, a peninsula, a platypus bill, a pelt; the hosts wonder how he does not trim it, whether it is a masculine calling card and whether he is still alive at 84.
Bernstein trying to take over Woodward’s story is nominated for establishing their complementary talents and rivalry
Woodward’s six-minute, single-take calls to Dahlberg and McGregor are nominated; a mistaken name at the end was retained — Bill Simmons
The gentle post-interview exchange about Sloan’s new baby is appreciated because it shows the reporters returning to ordinary human conversation — Sean Fennessey
The Library of Congress research montage is nominated for depicting labor now replaced by digital search — Bill Simmons
Bradlee first buying into the story is nominated — Bill Simmons
Bernstein’s coffee interview with the bookkeeper is nominated — Bill Simmons
The final Deep Throat garage meeting and visit to Bradlee’s home are nominated — Bill Simmons
The first Bradlee red-pen edit is nominated for showing the newsroom hierarchy through costume and body language — Chris Ryan
Bradlee’s final speech is selected as the favorite Robards scene — Chris Ryan
The visit to Bradlee’s house and speech are separately selected for their tension and management style
The six-minute Redford phone call is selected as best for difficulty, while the Robards scene remains a favorite — Bill Simmons
