Dowdsy McDowds
Sally was here
I was watching White Men Can't Jump the other night for the first time in years and this quote stuck with me. It's one of those pieces of dialogue that pretty much encapsulates the story for the main character(s); Harrelson plays the role of the underdog basketball hustler incredibly well. Upon his first meeting with Snipes' 'Sidney' he refers to his appearance and demeanours as being 'chumpish' and 'geeky' which makes others underestimate him. Pretty smart no?Sometimes when you win, you really lose, and sometimes when you lose, you really win, and sometimes when you win or lose, you actually tie, and sometimes when you tie, you actually win or lose. Winning or losing is all one organic mechanism, from which one extracts what one needs
At the same time, when it comes to matters with his partner Gloria, he is at times slow and seemingly uneducated.
The end of the film sees Billy (Harrelson's character) and Sidney finally lay claim to being the kings of the street courts having defeated the pair who had been mentioned previously in essentially mythical tones.
So, this got me thinking of other sports films where the main character/team loses or wins at the end, but can be seen to gain or lose in their personal lives.
The Hustler with Paul Newman fits the winning but losing profile although his loss comes before his final victory.
Friday Night Lights fits the losing but winning profile as the young men of the team face difficult personal situations on and off the field, until moving on to the next stage of their lives.
I guess the most famous example of losing but winning would be Rocky, where Rocky Balboa gets absolutely pummeled but shows resilience and goes the distance with Apollo.
To get a connection with the audience in any film, we need to care for the characters involved. We need to think of the actors as the characters and imagine what this challenge means to them and what the repercussions of winning/losing are going to be.
With all this in mind, it made me think of a couple of questions for you guys and gals to consider.
How (un)important the final result is of the climactic match compared to what kind of state the lead character(s) is in when they get there.
Are there any films that may have benefitted from having the template reversed and how would that have affected the final film? For example, if Rourke in the Wrestler had lost his final match but won his family back. Would The Replacements have been a better film if the team had lost but the characters gained contracts with other teams?
(Note: you don't need to address all of the films I've mentioned, they're largely just examples to illustrate a point. Thanks also to Mitch for his help with this thread)