61* (2001) (TV)

Director:

Billy Crystal

Writer (WGA):

Hank Steinberg (written by)

Release Date:

28 April 2001 (USA)

Genre:

Drama | History | Sport

Tagline:

Mickey Mantle and Roger Maris. Why did America have room in its heart for only one hero?

Plot:

Roger Maris and Mickey Mantle race to break Babe Ruth's single-season home run record.

Plot Keywords:

Sports Writer | Babe Ruth | Baseball | Friendship | St. Louis Gateway Arch

Awards:

Nominated for Golden Globe. Another 3 wins & 20 nominations

Cast

Barry Pepper	...	Roger Maris
Thomas Jane	...	Mickey Mantle
Anthony Michael Hall	...	Whitey Ford
Richard Masur	...	Milt Kahn
Bruce McGill	...	Ralph Houk
Chris Bauer	...	Bob Cerv
Jennifer Crystal	...	Pat Maris ('61) (as Jennifer Crystal Foley)
Christopher McDonald	...	Mel Allen
Bob Gunton	...	Dan Topping
Donald Moffat	...	Ford Frick
Joe Grifasi	...	Phil Rizzuto
Peter Jacobson	...	Artie Green
Seymour Cassel	...	Sam Simon
Robert Joy	...	Bob Fitschel
Michael Nouri	...	Joe DiMaggio

Also Known As:

61 (USA) (alternative title)
Home Run Race (USA) (working title)
61* (Spain) [es]
61: A História De Um Recorde (Brazil) (cable TV title) [pt]
Ennätysjahti (Finland) [fi]

Runtime:

129 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

South Korea:15 | Canada:AA (Ontario) | Canada:G (Quebec) | Iceland:L | Singapore:PG | USA:TV-MA

Filming Locations:

Ambassador Hotel - 3400 Wilshire Boulevard, Los Angeles, California, USA

Company:

61* Productions Inc.

Trivia:

Mickey Mantle's son and grandson cameo as the father and son during the ending credits.

Goofs:

Continuity: Mantle throws the ball in from right field, but the second baseman receives the ball as if it comes in from left field.

Quotes:

Dan Topping: I was wondering if you would consider changing the lineup around?
Ralph Houk: What do you mean?
Dan Topping: Switching Mantle and Maris.
Ralph Houk: You're kidding me. We're only a game up on the Tigers, the most important series of the year and you want to screw with it? What is this about, the home runs? You're reading the fan mail? You're letting the fans run the team?
Dan Topping: The fans pay your salary, Ralph.
Ralph Houk: Well, you can change the lineup if you want, but not while I'm manager. And I'll tell you something else, the right guy is going to break that stupid record!

Movie Connections:

Referenced in The Punisher (2004)

Soundtrack:

I Count The Tears

Perhaps best baseball movie ever

So superb was the job Billy Crystal did on this movie that it is the best baseball (even sports) film I have ever seen. Every detail is meticulously worked out, even more accurately, I believe, than in The Titanic (which, contrary to popular belief, had a few inaccuracies). And while a strong effort in getting look alikes can never completely pay off with so many people involved, how about Barry Pepper as Maris? (Of course, the most important person.)

Mickey Mantle's faults are brought out unrestrainedly by perhaps his No. 1 fan, and yet he still comes across in a positive light, as he should. Maris's problems with the press are also portrayed sympathetically, and yet so are members of the press, who are personalized and humanized and have their side also fairly presented. Particularly moving was the scene at the end where a press person who had been at odds with Maris is cheering him on to break the record. An ornamental portrayal of Pat Maris would of course not be tolerated, but Crystal makes an extra, very successful effort at making her an important part of the film with great character development and a thoughtful inclusion of her problems. In fact, I find it hard to think of another movie in which there is such an absence of plastic people. And in spite of the post-Ball Four attitudes about how athletes really are, this movie appears to be accurate in presenting Maris as a good Catholic (and relatively nonboozing) family man.

Yankee haters may not be into this film as much as Yankee lovers, but in any event it brilliantly captures the Yankee mystique (and dominance in this particular season) in the early 60s. Were they the apotheosis of the pre-Vietnam, All-American ideal? If you are one of those people whose main complaint about movies these days is more than specific factors, but the general lack of anything uplifting, see this movie. More in the modern vein than, say, Pride of the Yankees, but no less uplifting.