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For one thing, this movie pivoted on the theme of baseball is a world better than the Madonna/Davis starring “A league of their acquire” or the more modern travesties like “A field of dreams”. For another, the schism between American and Japanese ideologies/way of life is objective so truly captured that it is difficult to gain this movie is not the de-facto recommendation for people alive to in Japan. Guess it missed out on the major league scene because, well, quite literally it is not about US major leagues?
A US baseball star (Selleck) is traded to a Japanese baseball team and finds himself at vivid loggerheads with the extant coach of the team. This, plus a microscopic romantic sub-plot as he falls in savor with the coach’s daughter.
Barring some minor cheesy moments — e.g., when the coach takes Selleck to a golf driving range and makes him hit the balls with a baseball bat, only to hear “I want to hit balls” instead of “I want to hit baseballs”…hmm — the accuracy of Japanese life is truly ravishing. Including, eating ramen with vociferous slurps, digging chopsticks vertically in rice bowls being a no-no, the language customary to communicate between the American/Japanese, even a scene with a genuine on-sen. A refreshing smash after stereotype galore seen in movies of that time, including the sharp “Shaded Rain” or the absolutely goofball “Rising Sun”.
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To slit to the dash, this is an under-rated gem of a movie, very well shot, some messages about life and profession as seen from two very different perspectives that are likely to resonate with either side. Selleck takes the cake with his acting, baring his tush (literally, I may add) to picture a grouchy American, snubbing people relentlessly and throwing tantrums in public, then letting us inside this character to understand his views. Takakura Ken, needless to say, is appealing as usual.
A must ogle if you are involved in Japan, or baseball, or a first-rate light-hearted atrocious cultural engage on life and sport.
MR. BASEBALL is a film of paradoxes. Written and filmed as a “light, sports comedy” it truly has a heartwarming core as human and universal as some of Capra’s finest. At the state level, you have the paradox of baseball, a elegant customary American game, as it is played in Japan – turned around, with American values cast off and Japanese values imprinted upon the game. (Some of the superficial “sports comedy” results from Jack’s uncomprehending disbelief at how “basa-boru” is played in Japan.) You also have a lead character who’s presented as an over-the-hill, aging baseball star, but who is actually quite immature – pro ball allowed him to postpone growing up. And you have a lead character who is rudely resistant to the changes in his life that are being forced upon him, refusing to find the curveball that life has given him, in the midst of a original country, a current manager, a modern team, and a recent girlfriend, who have all welcomed him and try to find him. Sound like heavy stuff? Not really. It’s a charming “clash of cultures” comedy that takes station on the national, sports, romantic, and professional levels. But if you sight it sensitively enough, you will also come by a tremendous account about a man who has to abandon his immaturity and grow up plan too gradual in life (causing some amount of personal afflict), and finds success in places he never expected it. I fancy the chronicle, but I also have immense respect for Selleck’s performance; he bares his tush (literally) to report an hideous American, insulting people and throwing tantrums in public, then lets us inside this character to understand his terror. It also doesn’t wound if you’re a broad fan of Takakura Ken like I am. MR. BASEBALL is a surprising “loss of innocence” record.
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