Last time we were here, Paul was being held hostage by Samuel L. Jackson in a tense dramatic thriller F. Gary Gray made back in the late ’90s. Let’s negotiate our way past that and look at a more substantial supporting role he’s had as part of one of Ron Howard’s many prestige pictures. Here is a character that somewhat flies in the face of a career built upon playing untrustworthy, shady types and you know what? The nice guy act really suits him.
Paul Giamatti as Joe Gould in Ron Howard’s Cinderella Man.
Role Type: Supporting
Plot Synopsis: The story of James Braddock, a supposedly washed-up boxer who came back to become a champion and an inspiration in the 1930s.
Character Profile: Boxing manager Joe Gould met a then-20-year-old James “Cinderella Man” Braddock at a crumbling gym in Hoboken, New Jersey. Gould immediately liked what he saw: a tough, durable competitor, a well-spoken, decent man with one hell of a right hand. The two struck up a friendship that very soon developed into a mutually beneficial professional relationship, and under Gould’s management Braddock turned pro in 1926 as a light-heavyweight contender. Ron Howard’s 2005 biographical drama, set against the backdrop of The Great Depression, focuses on a tumultuous but ultimately miraculous period in both men’s careers, capped off by Braddock’s historic upset of current World Heavyweight Champion Max Baer in 1935. This was the unlikely result of a series of victories Braddock claimed after Gould begged for him to be re-instated as a boxer following the infamously embarrassing, one-sided loss to light-heavyweight champion Tommy Loughran six years earlier. It was Gould’s pitch that became instrumental in setting the “Pride of New Jersey” back on a course to stardom, necessarily establishing Braddock as one of the few rays of light amidst one of the darkest periods in American history.
Why he’s the man: In an Oscar-nominated supporting turn, Giamatti embraces a much less shifty character than he has in the past, though Joe Gould wasn’t exactly a man without foibles. (In 1942 he enlisted in the Army and earned the rank of First Lieutenant, but was later sentenced to three years’ hard labor for conspiring to accept bribes; and Cinderella Man tends to cast a less favorable light on his decision to pitch Braddock’s comeback as a major profiteering venture for fight promotor James Johnston.) Giamatti, despite a sense of two-facedness, remains a thoroughly likable guy throughout, his closeness to Braddock and the respect he has for Braddock’s love for his family readily apparent. He plays such an excitable, emotional fella, the kind that’s easy to root for, so it was a shame Giamatti lost that year to Morgan Freeman for his work in Clint Eastwood’s Million Dollar Baby. A shame, but also understandable.
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