Summary
- Ron Shelton‘s career transition from baseball player to screenwriter and director was fueled by some early struggles but ultimately led to success.
- Bull Durham was a turning point for Shelton, showcasing his talent for character-driven sports comedies that resonated with audiences.
- White Men Can’t Jump
further solidified Shelton’s reputation for revolutionizing sports films with its unique take on basketball and street culture.
As a cinephile who’s spent countless hours immersed in the world of sports-themed films, I can confidently say that Ron Shelton stands tall among the greats. His unique blend of grit, humor, and heart has left an indelible mark on cinematic history.
Ron Shelton’s journey into filmmaking mirrored his early days in professional baseball, both starting with a setback. Born in Montecito, California, he was part of some of the country’s most promising young baseball talent within the Baltimore Orioles farm system. However, despite spending five years honing his skills in minor league baseball, Shelton didn’t manage to break into the majors. Instead, he shifted gears and embarked on a screenwriting career. As a fledgling writer, Shelton encountered some ups and downs, but his script for the 1983 film “Under Fire” eventually gained recognition, with major actors bringing his words to life on the big screen.
In spite of leading performances from esteemed actors Nick Nolte and Gene Hackman, the film “Under Fire” failed at the box office. His subsequent script for “The Best of Times” continued to impress, with Shelton sticking to his comfort zone in a sports comedy genre. Regrettably, even with Kurt Russell and Robin Williams on board, the movie was another financial disappointment. With an accumulating string of flops, Shelton found himself developing an unwanted reputation in Hollywood. However, he believed that directing his own projects might improve the chances of his screenplays finding success. His first directorial effort, “Bull Durham,” confirmed Shelton’s intuition.
Bull Durham Became a Hit and Catapulted Shelton
A fortunate combination of events paved the way for Ron Shelton’s major breakthrough in 1988. He managed to get Kevin Costner on board with his script for “Bull Durham”, a comedy inspired by Shelton’s own minor league baseball career. Interestingly, both Costner and Shelton hailed from California and harbored dreams of becoming professional baseball players before fate steered them towards acting. After an unexpected meeting with Richard Burton, Costner chose acting over baseball. However, after the triumph of “The Untouchables”, Kevin’s agent at William Morris initially advised against “Bull Durham” to focus on other projects instead.
At a critical juncture, Costner nearly landed the part in “Everybody’s All-American,” but at the last minute, Shelton successfully persuaded William Morris to assign Costner to play Crash Davis instead. This decision proved wise, as “Everybody’s All-American” failed miserably, while “Bull Durham” surged in popularity. In a fresh take on sports movies, Shelton infused “Bull Durham” with character development, sexual and romantic themes, and his own authentic directorial skills as a former player. As a result, Shelton effectively established himself as the innovative force in the realm of sports films.
White Men Can’t Jump Galvanizes Shelton’s Vision
It turned out that Ron Shelton had a deep interest in basketball since his youth, aside from baseball. Although Shelton arranged his minor league baseball contract to allow for the possibility of also playing basketball professionally, he never managed to sign a pro contract on the basketball court. Instead, he found ways to play basketball informally in Los Angeles after his baseball career ended. Drawing inspiration from these encounters, he created the ’90s sports movie “White Men Can’t Jump.”
Shelton felt there was something more profound about this sports environment than the pro ranks, later opining for Grantland, “There is a democracy on the playground. If you got game, no one cares what you look like. Nobody knows where you are from. It could be successful guys, homeless guys, guys out of jobs, presidents of companies… on the playground everyone is equal.” Shelton crafted another script around this premise, with rising stars Wesley Snipes and Woody Harrelson signing on to play two basketball hustlers who frequent the sandy courts of Venice Beach, California.
Woody Shelton seamlessly transitioned his athletic interests from the mostly white baseball community of Durham, North Carolina to the competitive, occasionally aggressive basketball courts of Los Angeles, where hoops are a passion. Sydney Deane and Billy Hoyle, an unconventional duo, bond over their shared ambition to earn a living through street basketball, and the humorous duo of Snipes and Harrelson left an indelible mark. Woody’s performance in “White Men Can’t Jump” revolutionized sports films by creating a relatable character that fundamentally changed the genre, leading to the movie’s commercial success and showcasing Woody’s expertise in the blend of sports and comedy.
Tin Cup and Other Under-Appreciated Ron Shelton Films
As a devoted fan, I find it challenging to label Shelton a generational talent, considering his films tend not to shine at the box office. Movies like “Cobb” and “Play It to the Bone,” which were massive flops, often frame his best work. Yet, even his lesser-known productions have stood the test of time. When he reunited with Costner for “Tin Cup,” a tale revolving around a down-on-his-luck golf pro, both actors found themselves in familiar territory once more. “Tin Cup” may not have been a blockbuster hit, but it was profitable and managed to address the core question that every sports movie should: what’s life really like for these athletes?
Incorporating a romantic comedy twist into sports films, this time featuring Major League alum Rene Russo, Shelton breathed life into the otherwise tranquil professional golf scene. The movie, much like other Shelton productions, has since earned a reputation as a cult classic.
Ron Shelton’s Difficult Hollywood Legacy
Interestingly enough, it seems that his most significant financial triumph as an author was not from his literary works, but rather from penning the script for Bad Boys II. Despite the numerous sports films inspired by his work over the years, Shelton receives little recognition for kick-starting this new trend. When Kenya Barris reworked White Men Can’t Jump, Shelton was brought in to help with the story – yet without Shelton leading the project, the revamp fell flat. Shelton’s knack for identifying talent and chemistry often led to a more commercialized approach that paired rapper Jack Harlow with Sinqua Wells, an almost unknown figure. The wit of Shelton’s dialogue in the original film was hard to recreate, and his unique storytelling style gave way to a movie driven by financial considerations.
It seems that Shelton’s repeated struggles to maintain the financial success of films like “Bull Durham” and “White Men Can’t Jump” may have limited his potential as a director. Nevertheless, when he focused on his strengths—combining romance and sports—he made significant contributions to sports film history, primarily through his screenwriting abilities. In his critique of “White Men Can’t Jump,” Roger Ebert noted that Shelton understood the complexities of sports played by grown-ups for serious reasons, and in this movie, he gave both Harrelson and Snipes characters who wanted their men to be more responsible than they knew how to be. If you’re interested, you can stream “Bull Durham” on AppleTV+.
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2024-08-03 19:31