Cinderella Man is a heartrending slice of depression-era Americana, that while admittedly melodramatic at times, manages to win you over nonetheless. It certainly bears much in common with 2003's "underdog-beats-the-odds and inspires a beleaguered nation" winner Seabiscuit, but that's hardly a complaint. The overriding theme of both pictures is remarkably similar, both are based on true stories and play on the beaten-down protagonist as symbolic embodiment of the hope of a dispirited nation. And both are rousing examples of how films of this kind, when executed with skill and expertly acted, can work like magic.

So here we have this manipulative, completely predictable film and yet, other than Crash, it's the first legitimate Oscar contender of the year. Much of the credit belongs to director Ron Howard, who knows what he's doing here every step of the way. He plays this true story like a maestro, sets the audience up and then delivers the goods. People in the audience at the screening I attended were moved to applause, and tissues were being handed around to men and women alike - not something you often see in this day of jaded movie-goers. I would put Cinderella Man right up there with Apollo 13 among his finest films. True Howard teamed with Crowe for the Oscar winning A Beautiful Mind, but that film was somewhat over-rated and pales in comparison to Cinderella Man.

Again like Seabiscuit, rarely have true stories so perfectly lent themselves to Hollywood productions. The film opens with Braddock climbing the Heavyweight ranks - though modest in his increasing wealth, right away we see the contrast of his lifestyle before and after the onset of the depression. Ironically Braddock had wisely invested his earnings in the market and a taxi company, both of which are literally wiped away overnight. Determined to fight his way through the economic trials of the time, he is soon beset by crippling injuries to the point where the Fight Commission revokes his license. Howard does a good job of portraying the hardships Braddock encounters merely trying to keep his wife and children adequately sheltered and fed, and it is quite touching the humiliation that Braddock must bow to just to keep his children from being farmed out to relatives who are better off.

As his tough, but loving and supportive wife, Renee Zellweger turns in yet another impressive performance - managing a convincing Jersey Girl accent, and remaining strong even in the face of the most dire of circumstances. Compared to her stunning performances over the past few years, her turn here is more adequate than anything, but she is allowed two or three scenes to really do her thing. Russell Crowe has made an art out of imbuing the ordinary man with nobility and dignity, and his Braddock is a clinic in understated perfection. Supporting him in his cause is always brilliant Paul Giamatti. It will be difficult for the academy to ignore him two years in a row. As Braddock's manager, his portrayal is the perfect mix of professional smarts and heartfelt humanity. Two scenes in particular where Giamatti gets to demonstrate his considerable acting chops include a sequence where he has come to share with Braddock the news of a big-purse fight that he has managed to finagle his fighter, and another where we learn of the great sacrifices he has made to finance Braddock's comeback.

In a star-making turn Craig Bierko (as Heavyweight Champion Max Baer) does a wonderful job of giving Braddock the perfect nefarious opponent. His cocky, womanizing (Hollywood) villain is pitch perfect - while hating him with a passion and wanting to see him beaten to a pulp, you still understand him, and are awed by his domination in the ring. The one black-eye that has popped up to compromise Howard's masterpiece is a controversy involving the two men whom Baer accidentally killed in the ring. Baer's ancestors have protested the way he is being portrayed, claiming that the film is slanted to make it appear as if Baer was ambivalent about these actual tragedies in the ring. They claim that the man was, in truth, haunted by these deaths and that he was plagued by nightmares throughout the rest of his life.

This contention is understandable from their viewpoint, but I felt that Baer was shown to demonstrate concern. Though subtle, there were scenes where he expressed trepidations about fighting contenders who he felt might be in danger, including Braddock. Still he was painted as something of a monster, which of course serves the plot of the film well, but might have been shaded unfairly. I'm sure we'll learn more about this issue in the months to come.

In any case, Cinderella Man is a wonderfully powerful film, the fight sequences are as visceral and realistic as any I've seen on film. Credit Crowe who looks and plays the part so convincingly it's as if he stepped out of the pages of an old issue of Ring magazine. I'd have to say the smart money will be on Crowe come award time, his physicality and fighting skills coupled with his modestly understated performance are sure to be remembered toward the end of the year. In spite of it's occasional maudlin tendencies, Cinderella Man is hands down the feel good triumph of the year, it is in every respect a technical knock out.