Sometimes strange things happen on the journey from paper to the silver screen. That certainly was the case for Bernard Malamud's classic novel The Natural.
Both the book and the movie are very good; and perfectly appropriate for their intended venue. But despite sharing a title, basic plot and every single character, they are two completely different stories.
The difference between the book and the movie is perhaps best explained by the difference between literature and Hollywood. I have always followed a simple test to tell if a written work is true literature: the reader spends the first two-thirds taking interest in the plight of the characters while marveling at the author's use of literary devices such as metaphors, foreshadowing, similes and symbolism; then, often quite suddenly, the story shifts and something very bad happens to the main character, frequently due to some self-inflicted failing, and once completed, the reader feels miserable about himself and the general state of mankind.
Of course Hollywood can not dare follow the same formula--no one would buy a ticket (it's a strange human phenomenon that someone will willingly invest $4.95 in a book to feel miserable but will balk at plunking down twelve bucks for a movie ticket for the same treatment--we want to feel good walking out of the theater). No one in the movie industry can risk an artistic triumph that is a box-office failure. And therein lies the conundrum faced by the producers of the movie The Natural.
The book, definitely a downer, was written by Bernard Malamud in 1952 and was his first published work. Malamud went on to a distinguished literary career and is recognized as one of the top American authors of the 20th century (if there was an American Literary Hall of Fame he wouldn't be a first-ballot shoe-in like Hemingway and Steinbeck but would easily get in with the later ballots or by the veteran's committee). Malamud, 38 years old in 1952, was raised Jewish in Brooklyn during the Great Depression and this heavily influenced his work. He was the master of the antihero whose ambitions were constantly derailed and he often wrote about the sufferings of lower class Americans and immigrants.
We see this theme prominently in The Natural. The protagonist, Roy Hobbs, is a young baseball player of immense physical talent whose sole ambition is to be "the best there ever was." His dream is side-tracked, however, when he is shot by a mysterious woman in a hotel before he ever gets started in professional ball. Roy later appears in a major league dugout at the age of 34, still possessing the talent and ambition but, unfortunately, also still possessing the same poor judgment and character flaws that got him into trouble the first time around.
Malamud comes through with the requisite prose and tricks to punch the book's ticket as genuine literature. He heavily leans on the Arthurian Legend and the idea of the sports hero as a knight of old. It is no coincidence that the team for which Roy plays is the New York Knights. Roy wields a special weapon--a bat made from a tree destroyed by lightning (anointed by the gods)--named Wonderboy, which is as powerful and magical as Excalibur ever was. The manager, Pop Fisher, is similar to the long-suffering Fisher King of legend who yearns for the Holy Grail (the pennant). Young Roy defeats the Ruthian Whammer in a joust in front of the young maiden. An enemy pitcher is terrified by the sight of Roy at the plate, "In full armor, mounted on a black charger . . . with a long lance as thick as a young tree."
And it's always nice when the author throws us an easy one: when Roy is frustrated by the continued refusal of his amorous advances and mired in a horrendous slump, "Wonderboy resembled a sagging baloney." It doesn't take a Freudian scholar to see the symbolism in that.
The book is a realistic, dirty look at the business of sports and hero worship. Malamud, who clearly understood baseball, as would be expected of anyone who grew up in Brooklyn in that era, takes pains to poke holes in the shroud of purity and innocence with which the game had encased itself--one of the first authors to do so, well ahead of guys like Mark Walker, Jim Brosnan and Jim Bouton. Malamud allows the reader insight into Roy's thoughts--which often differ drastically from his words--and makes it clear that he cares little for the team or anyone other than himself. His selfish ambition, greed and lust prove to be his undoing.
In going to the woman's hotel room at the beginning of the tale, Roy goes not as a wide-eyed innocent, but as a guy who knows exactly what he wants--a guy who has already gotten to second base on the train and fully expects to be waved home by the third base coach in the hotel. Upon joining the New York Knights, Roy shares a bed, and intimacy, the first night with the beautiful and cursed Memo as the result of a practical joke set up by Memo's ne'er-do-well boyfriend and resident leftfielder Bump Bailey. Roy spends the rest of the book recklessly pining for the siren Memo--obsessed with obtaining that which he has already had.
The fact that Roy's hubris will be his undoing is foreshadowed when the amiable coach Red offers him advice to be careful: "There is a short life in baseball and we have to think of the future. . . try to protect your old age." Roy, intent on charging full speed toward his destiny, replies, "To hell with my old age . . . I will leave my mark around here."
The night before the potential pennant-clinching series, Roy is felled by a bellyache courtesy of Memo. He gobbles four plates piled high with ham, rolls, shrimp, fish, lobster, cheese and potato salad, chugs three bottles of lemon pop and three more of lime and still "felt as if he had hardly eaten." He then goes down to the hotel grill and wolves six hamburgers and two tall glasses of milk and is again "astonished at how hungry he felt." He wonders,"What must I do not to be hungry?" Malamud makes it clear that Roy's appetite for food is quite insatiable and is easily seen to be equaled by his appetite for Memo, pleasures of the flesh, fame, glory and money.
The movie, which was released in 1984, is generally viewed as one of the best baseball movies of all-time. It was very well cast in almost every character. The producers, shrewdly deducing that most guys need help in getting a date to see a baseball movie, gave Robert Redford the lead. Redford is aided by some talented camera work that sets the baseball in aging Buffalo Memorial Stadium, turning it into a beautifully-set 1930s baseball palace. The baseball scenes, with the overlaid radio commentary, are stirring.
While the movie stays remarkably close to the book in almost every aspect, it is drastically different. By making a slight change in Roy's quotes and offering no insight into his thoughts, Roy's character is completely changed and, ultimately, the story as well. Roy becomes the idyll, mythic baseball hero that Malamud tried so hard to avoid. Movie Roy cares little for his own fame, personal needs and health; he is only concerned about winning a pennant for Pop, his fans and especially the kids. We can also assume, though it's not stated specifically, that Movie Roy is in favor of truth, justice and the American way. The movie is basically a baseball fantasy--Roy Hobbs is a superhero on the diamond.
Film critic Roger Ebert panned the movie: "I got the idea that God's only begotten son was playing right field for the New York team." Ebert obviously missed the point. That is exactly why the movie is good. We don't go to the movies to watch a great hitter make an out seven out of ten times. Yes, some of the lines are corny, but Redford manages to pull it off, especially if the viewer checks his sense of reality at the front door and accepts the fact that this is Hollywood's version of altered reality. We know a real life baseball player can not show up at 34 years of age, knock the cover off the ball and bring down the stadium lights with a home run any more than a group of dead baseball players can walk out of a corn field and help a farmer who constructs a perfect ball field in one growing season. But that's what we pay our ticket-price to see.
Movie Roy is appalled at the suggestion of a bribe to throw the big game. Book Roy eagerly embraces the idea, pausing only to negotiate a better price for himself.
Book Roy climbs to the evil owner's lair atop a crooked tower to ask for more money and is turned down. Movie Roy is offered extra cash by the owner, but triumphs in his test of purity by refusing to even consider it.
Movie Roy shares none of Book Roy's unhealthy and unsavory (dare we say even carnal) appetites away from the field. Whereas Book Roy does himself in with a massive indulgence of gluttony, in the movie Memo, with a sinister side glance, slips a small bite of food--obviously tainted--into the pure Roy's mouth while he is enjoying simple revelry with his beloved teammates.
Movie Roy's only thought while in the hospital (after being given a much more dire prognosis by the doctor than Book Roy) is to get out to play in the big game to help his team (which incidentally all crammed around his bed to wish him well as opposed to Book Roy's teammates, none of whom bother to visit him). Movie Roy even gushes the line, "God, I love baseball," with a straight face--and we eat it up!
Of course Movie Roy will not dare fail in the big game, even without his trusty Wonderboy which cracks under a bolt of lightning (I guess back then they didn't cancel games for mere electric storms). Book Roy has a late-inning change of heart and tries to win, but still strikes out, completely losing his confidence after his Wonderboy breaks in obvious metaphorical rejection of his moral failings. As poor Roy awaits the final pitch from a flame-throwing youngster, he feels his lifeforce ebbing: "It felt like winter. He wished for fire to warm his frozen fingers."
Movie Roy concludes the story in happy familial bliss, having a catch with his son in a farm field while his adoring wife looks on. Book Roy wanders from the park in the dark of night, a forgotten man, alone in his failure. He learns from a newspaper headline that his deceit has been discovered and he will be excluded from the game and his records forever destroyed. "I never did learn anything out of my past life," he admits. "Now I have to suffer again," and, finally realizing that, he weeps "many bitter tears."
The movie is a baseball movie, pure and simple. It is unlikely to be enjoyed by those who are not baseball fans. The book, however, can stand alone in a room of intellectuals who have never tried to hit a pitched ball in their lives--very little action in the book takes place at the ballpark. Literary types who understand little about the game can enjoy deconstructing Roy's character and the symbolism in the story.
When viewed together, the movie and the book are two completely different stories that share similar characters. Each is very good, and appropriate, for it's venue. Had the book been like the movie, it would have been dismissed as teenage sports drivel. Had the movie been like the book, no one would have watched it and it would have been quickly forgotten. The change in Roy's heart and the ending made all the difference.