Bibliographic record
Abstract
42: Robinson Story. Written and directed by Brian Helgeland. Warner Bros., 2013. Early in review of 42, chief New York Times film critic A.O. Scott calls this movie Blunt, simple and sentimental. So is the Bible. Wanna make some-thin' o' dat? This is an exciting, tension-building, satisfying, and ultimately uplifting movie. would defy anyone who in the late 1940s and the early 1950s, when Brooklyn's became the Jackie Robinson Dodgers and number 42 became the pride and hero of virtually every Brooklynite, not to enjoy, be deeply moved, and be inspired by this carefully researched and documented account of the shattering of Major League Baseball's color barrier. In a prerelease interview, writer and director Brian Hegleland explained that in writing the script, he was trying to make sure every moment documented. It shows, seamlessly. Could someone complain that the film (at two hours and eight minutes) goes on a bit too long, the point having been gotten sooner than that? Yes, that case could be argued. Could someone carp that in key scenes the music used to underscore virtue's triumph is too obvious, too loud, too unnecessarily insistent? Yes, not an outlandish observation. Might it be said that newcomer Chadwick Boseman--although, by parts, appropriately cool and appropriately hot, almost always dignified--as Jackie, plays it just a tad too taciturn and buttoned up, for those of us who remember the opinionated, palpably passionate, highly articulate, sometimes profane, feisty, mature Robinson? Perhaps, although the film doesn't go beyond Robinson's 1947 rookie season. In any event, these cinematic peccadillos are not nearly enough to erode the overall scintillating, exhilarating effect of this project. A rather long while ago, someone commented that The Robinson story is one that cannot be told too many times. It is an unabashed, unembarrassed, unambiguous morality tale in which the good guys win the big ones. It is inextricably embedded in twentieth-century US history, and is as mythologically American as Lincoln's Emancipation Proclamation, FDR'S depression assuaging New Deal, and Martin Luther King's I Have A Dream speech. King himself once said, No Robinson no Martin Luther King. And he observed that Jackie Robinson a freedom rider before there were freedom riders. All the iconic moments are here. * Rickey, in their first encounter, calls Robinson a nigger son of a bitch to test prospective player's powers of restraint. Robinson asking, Mr. Rickey, do you want a ballplayer who's afraid to fight back? and Rickey retorting, No, want a ballplayer who's not afraid to not fight back. * Manager Leo Durocher (a salty portrayal by Christopher Meloni) reacts to a spring-training petition by some of the opposed to playing with Robinson by calling a middle-of-the-night team meeting and screaming at players: I don't care if he's yellow or has stripes like a zebra. If he can play, and from everything I've seen he can, he plays. And boys, he's only the first. They're coming and they want to play. And if you don't pay attention to your jobs they'll take them. * Ralph Branca (Hamish Linklater), who won twenty-one games in Brooklyn's 1947 pennant season, urges Robinson to shower with the rest of his team. (According to Peter Golenbock's Bums, it actually another player of Italian extraction, Al Gionfriddo, maker of that immortal catch off a Joe Dimaggio blast in Game Six of the 1947 World Series). * Captain Harold Pee Wee Reese (Lucas Black) during a game in Cincinnati, near hometown of Louisville, comes across the infield to Robinson as the taunts and epithets crest, and conspicuously puts arm around number 42 and stays there chatting with Robinson. fans, like it or not, got the point. One of the most winning aspects of the film is Harrison Ford's pitch-perfect performance as general manager Branch Rickey, who resolved to introduce an African American player into Major League Baseball. …
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.008 | 0.002 |
| Scholarly communication | 0.003 | 0.003 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.003 | 0.005 |
| Insufficient payload (model declined to judge) | 0.039 | 0.020 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".