{"id":712,"date":"2025-04-04T12:18:34","date_gmt":"2025-04-04T12:18:34","guid":{"rendered":"https:\/\/tmbglobal.news\/index.php\/2025\/04\/04\/mlb-opening-day-and-the-magic-of-baseball-movies\/"},"modified":"2025-04-04T12:18:36","modified_gmt":"2025-04-04T12:18:36","slug":"mlb-opening-day-and-the-magic-of-baseball-movies","status":"publish","type":"post","link":"https:\/\/tmbglobal.news\/index.php\/2025\/04\/04\/mlb-opening-day-and-the-magic-of-baseball-movies\/","title":{"rendered":"MLB Opening Day and the magic of baseball movies"},"content":{"rendered":"<p><\/p>\n<div>\n<p>The history of baseball is in many ways the history of America itself. Its very nickname \u2014 America\u2019s pastime \u2014 goes beyond the simplicity of a game, evoking a grandiosity that channels fundamental images of Americana. Baseball legends hold their place in the annals of history next to presidents and national heroes: Babe Ruth, Jackie Robinson, Hank Aaron. When I think back to my own life, it\u2019s filled with memories of the game \u2014 I spent my childhood playing catch and watching Tigers games on the TV.<\/p>\n<p>And if baseball and America are intertwined, then the history of baseball is also in many ways the history of movies. The <a href=\"https:\/\/sabr.org\/journal\/article\/vi-owen-remembering-the-golden-age-of-baseball\/\">game\u2019s surge<\/a> in popularity in the 1920s coincided with the <a href=\"https:\/\/warwick.ac.uk\/services\/library\/mrc\/archives_online\/exhibitions\/film\/\">rise of the film<\/a> industry, shaping how we view the sport through the screen.\u00a0<\/p>\n<p>Many of the most iconic baseball movies contort the sport into something of mythic proportions. These are movies that treat baseball as bigger than a game, which is very fitting for baseball, a sport that has an unmatched reverence for its legends of yore, superstition and myths. By definition, they are almost\u00a0the most iconic of all baseball movies, forming the enduring images associated with the subgenre.\u00a0<\/p>\n<p>These two baseball films share some superficial similarities: a tendency to focus on the history of the sport and elements of childhood nostalgia. But most of all, they\u00a0center on an idea that baseball represents something deeper about life and America. Two movies provide a glimpse into this type of movie and their characteristics: \u201cField of Dreams,\u201d which builds the myth up, and \u201cMoneyball,\u201d which breaks it down. Deconstructing these movies helps us understand why they have so much staying power and what their themes about baseball suggest about our lives.<\/p>\n<aside class=\"scaip scaip-1    \">\n\t\t<\/aside>\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-dots\"\/>\n<p><strong>\u201cField of Dreams\u201d<\/strong> <\/p>\n<p><em>\u201cRay, people will come, Ray. They\u2019ll come to Iowa for reasons they can\u2019t even fathom. They\u2019ll turn up your driveway, not knowing for sure why they\u2019re doing it. They\u2019ll arrive at your door as innocent as children, longing for the past.\u201d<\/em> <\/p>\n<p>No movie was more immediately obvious for this genre than \u201cField of Dreams.\u201d This is a film that channels the founding myths of baseball. \u201cField of Dreams\u201d opens on Iowan corn farmer Ray Kinsella (Kevin Costner, \u201cZack Snyder\u2019s Justice League\u201d), a diehard baseball fan haunted by his relationship with his late father. One night, he\u2019s awoken by a mysterious voice, which tells him: \u201cIf you build it, he will come.\u201d Eventually, Ray tracks the source of this voice to retired author Terence Mann (James Earl Jones, \u201cMufasa: The Lion King\u201d), who himself has become disillusioned with his life.\u00a0<\/p>\n<p>Terence and Ray realize that they\u2019re being called to construct a baseball field together on Ray\u2019s farm, where spirits of baseball legends reunite to play one last game. Among these are two real-life players, each demonstrating unfulfilled dreams of baseball careers. They are \u201cMoonlight\u201d Graham (Burt Lancaster, \u201cThe Jeweler\u2019s Shop\u201d), a man who appeared in one singular Major League game before retiring and becoming a doctor, and \u201cShoeless\u201d Joe Jackson (Ray Liotta, \u201c1992\u201d), an all-star whose career was ruined by false allegations of throwing games and who was part of the scandalous <a href=\"https:\/\/sabr.org\/journal\/article\/the-black-sox-scandal\/\">Chicago<\/a> Black Sox team. Also among the players is the spirit of Ray\u2019s father, John (Dwier Brown, \u201cLocked Down\u201d), whose personal failures as an overbearing parent ruined his relationship with his son.<\/p>\n<p>\u201cField of Dreams\u201d approaches the game with a religious reverence. Jones\u2019 iconic voice echoes over Ray\u2019s cornfield like the voice of God dictating the Ten Commandments to Moses. The film\u2019s plot plays on magical realism for thematic effect; the ghosts of baseball\u2019s past aren\u2019t just metaphorically haunting us, they are literally ready to emerge from the shadows. But most of all, the film shows how the game seeps into your entire life, built off the legends you learned in childhood. When these people face failure or tragedy in their own life, baseball is both the source and remedy for these ails. Through this, \u201cField of Dreams\u201d is a story of failure. Each of these men dreamed of making a career in the game they love, and each of these men had that dream crushed. Their failed dreams created a legacy of scorn and broken relationships with their families. Ray building that field and giving them one last chance to play is really just him giving them one last chance to relive their childhood.\u00a0<\/p>\n<aside class=\"scaip scaip-2    \">\n\t\t<\/aside>\n<p>The magic of \u201cField of Dreams,\u201d and movies like it, is its ability to maintain a sense of childlike wonder. Listen, \u201cField of Dreams\u201d is a <a href=\"https:\/\/www.youtube.com\/watch?v=RwzvmqlS7Pw&amp;ab_channel=ABCNews\">stupid, cheesy movie<\/a>. But it commits to the bit, immersing itself into a fairytale atmosphere that is fully bought into its own sentimental affections. In a modern cinematic age of self-referential cynicism, it\u2019s extremely refreshing to watch a film that is emotionally straightforward and honest. There is no plot twist, no undercutting emotional betrayal. In his review of \u201cField of Dreams,\u201d Roger Ebert compared it to the films of <a href=\"https:\/\/www.rogerebert.com\/reviews\/field-of-dreams-1989\">Frank Capra<\/a>, and I think he\u2019s onto something. In a literal sense, the film embraces its fantasy in a way that is reminiscent of \u201cIt\u2019s a Wonderful Life,\u201d with spiritual elements that illustrate the importance of emotional beats over plot beats. \u201cField of Dreams\u201d also parallels the tone of Capra and, by extension, Golden Age Hollywood \u2014 moral heroes, magical realism and an American sense of determination. The commitment to this tone reflects a return to the baseball and the cinema of our childhood.<\/p>\n<p>At the end of the day, \u201cField of Dreams\u201d agrees: If you build it, they will come. Everything will come rushing back to you when you watch the film. Ray gets to play catch one last time with his dad, creating a final memory to cherish and resolving their own broken relationship. It might be kind of dumb, but baseball is a pretty dumb game. To this day, every baseball is rubbed with <a href=\"https:\/\/www.si.com\/mlb\/2019\/08\/07\/baseball-mud-rawlings\">mud<\/a> from the bottom of the Delaware river. To this day, they make the old man managers <a href=\"https:\/\/www.gq.com\/gallery\/wait-why-do-baseball-managers-wear-uniforms-again\">wear uniforms<\/a> like they\u2019re on the team. And baseball really is just a bunch of grown men hitting a ball with a stick. So why do I watch 162 games a year just to be slightly angry the entire time? \u201cField of Dreams\u201d finds an answer to these questions: We do it because we love it.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-dots\"\/>\n<p><strong>\u201cMoneyball\u201d<\/strong> <\/p>\n<p><em>\u201cHow can you not be romantic about baseball?\u201d<\/em><\/p>\n<p>\u201cMoneyball\u201d evolves baseball myth-making by using the traditions and stylings of the sub-genre to subvert it thematically. \u201cMoneyball\u201d is to the baseball movie what revisionist Westerns like \u201cThe Searchers\u201d or \u201cUnforgiven\u201d are to the Western genre. These films recognize the shortcomings of their parent genres \u2014 the endless violence and white saviorism in the case of Westerns and the unyielding commitment to tradition for the baseball movie \u2014 and exploit them to find the failure, and ultimately beauty, their genres lead to.<\/p>\n<aside class=\"scaip scaip-3    \">\n\t\t<\/aside>\n<p>After all, \u201cMoneyball\u201d is quite literally a movie about recognizing the failure of dogmatic commitment to tradition. The film is focused on the 2002 Oakland Athletics, a small market team who have suffered a heartbreaking defeat in the prior season and subsequently lost many of their stars to large market franchises in free agency. Short of cash and devoid of talent, general manager Billy Beane (Brad Pitt, \u201cMickey 17\u201d) has to turn to unconventional methods to acquire new talent. Major League Baseball teams value highly rigid aesthetic standards that favor traditional stars. This leads teams to undervalue players that are seen as too old, that throw too weird or have <a href=\"https:\/\/www.youtube.com\/watch?v=6naO8n6HsqE&amp;ab_channel=LukeWarmMedia\">ugly girlfriends<\/a>. Beane recognizes the opportunity this represents. Playing the game within the game, he acquires cheap replacements for his stars by capitalizing on undervalued attributes like on-base percentage, assembling an island of misfit toys that are able to string together a winning season.<\/p>\n<p>\u201cMoneyball\u201d upends the baseball movie genre not simply through its plot. Most baseball movies are\u00a0unflinchingly sentimental, with the scrappy band of lovable heroes always coming out on top, thwarting their opponent and learning a valuable lesson about friendship along the way. Not in \u201cMoneyball.\u201d The A\u2019s will not win the World Series. A few decades later, their owner will strip them for parts and ship them to Las Vegas <a href=\"https:\/\/www.espn.com\/mlb\/story\/_\/id\/41386662\/fans-goodbye-oakland-leaving-coliseum-moving-las-vegas\">for profit<\/a>. Any victory is purely moral \u2014 a front office executive is able to temporarily stick it to the New York Yankees by making a few trades. This is the subversion of the mythical baseball movie presented by \u201cMoneyball\u201d: The game of our childhood is dead, and it\u2019s not coming back. \u201cMoneyball\u201d kills not only the traditionalism of front offices but the very underpinnings of the baseball movie genre.<\/p>\n<p>The true stroke of genius of \u201cMoneyball\u201d is that it understands that even though the baseball movie might be gone, a bygone representation of childhood nostalgia for a sport that\u2019s not even that popular anymore, there was a reason we loved them in the first place. Yes, the 2002 Oakland A\u2019s did not win the World Series. But Beane\u2019s strategy reshaped the way the game was played and\u00a0built something that lasted. When Scott Hatteberg (Chris Pratt, \u201cThe Electric State\u201d), one of the many undervalued players on the A\u2019s, steps up to the plate and delivers a clutch homer to extend their all-time best winning streak, <a href=\"https:\/\/www.youtube.com\/watch?v=YLPq3uiXQnU&amp;ab_channel=FilmIsNowEpicScenes\">we still care<\/a>.\u00a0<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-dots\"\/>\n<p>Tapping into visions of nostalgia, \u201cField of Dreams\u201d illustrates the reason we loved baseball movies so much in the first place and became as iconic as the mythos it sought to reflect; <a href=\"https:\/\/www.mlb.com\/events\/field-of-dreams\">MLB games<\/a> were played at a cornfield in Iowa nearby the original filming location in 2021 and 2022, an attempt by the league to recapture that magic. It might be gone, echoing the way that \u201cThe Searchers\u201d knew that the Old West had come to an end. The mythos that led to Golden Age Westerns isn\u2019t with us anymore, never to return. \u201cMoneyball\u201d knew the baseball movie had come to an end. But more importantly, \u201cMoneyball\u201d understands that even if the ideal baseball movie, and our childhood memories, are gone, there was a reason why we loved them so much in the first place.<\/p>\n<p><em>Daily Arts Writer Will Cooper can be reached at <\/em><a href=\"https:\/\/www.michigandaily.com\/arts\/film\/the-mythmaking-of-iconic-baseball-movies\/mailto:willcoop@umich.edu\"><em>wcoop@umich.edu<\/em><\/a><em>.<\/em><\/p>\n<aside class=\"scaip scaip-4    \">\n\t\t<\/aside>\n<aside>\n\t\t<\/aside>\n<p><h3 class=\"jp-relatedposts-headline\"><em>Related articles<\/em><\/h3>\n<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>The history of baseball is in many ways the history of America itself. Its very nickname \u2014 America\u2019s pastime \u2014 goes beyond the simplicity of a game, evoking a grandiosity that channels fundamental images of Americana. Baseball legends hold their place in the annals of history next to presidents and national heroes: Babe Ruth, Jackie [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":713,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[20],"tags":[731,271,730,728,732,729],"class_list":{"0":"post-712","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-entertainment","8":"tag-baseball","9":"tag-day","10":"tag-magic","11":"tag-mlb","12":"tag-movies","13":"tag-opening"},"_links":{"self":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts\/712","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/comments?post=712"}],"version-history":[{"count":1,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts\/712\/revisions"}],"predecessor-version":[{"id":714,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts\/712\/revisions\/714"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/media\/713"}],"wp:attachment":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/media?parent=712"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/categories?post=712"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/tags?post=712"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}