Moneyball (opening today) reminds us that baseball is as much about psychology as poetry. As with anything in life, you can’t fulfill your promise without confidence and nurturing. And, not surprisingly, director Bennett Miller follows Capote with another literate and mournful biopic of a creative iconoclast on a life-changing journey. Only in this case, Oakland A’s general manager Billy Beane (Brad Pitt at his most fascinating and charismatic best) is spiritually adrift because baseball has broken his heart (he blew his chance as a player). But that doesn’t prevent the driven and resourceful Beane from reinventing himself, rekindling his love once again (the script by Aaron Sorkin and Steven Zaillian crackles with metaphor and wit).
Moneyball ironically begins in 2001 with the A’s losing a devastating playoff series to the Yankees, and subsequently losing their stars to free-agency. With a small payroll, there’s just no way to compete with the Yankees, but, thanks to a young economics wiz (Jonah Hill), Beane embraces a revolutionary approach to scouting players through computer analysis, and slowly transforms his “island of misfit toys” into a competitive team, and going on a wild, record-breaking ride in the process.
Moneyball is fundamentally about the difficulty of adapting to change and learning to survive and thrive with less — an apt metaphor for our times. Wally Pfister ‘s cinematography has a gritty yet surreal quality at times, in keeping with the volatile tone. The transparent VFX wizardry involving stadium seating is by Rhythm & Hues (supervised by Edwin Rivera).