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There's also something to be said for smart casting. As noted above, Clooney exudes a certain degree of Golden Age charm. If he doesn't quite rank with Clark Gable or Cary Grant, then at least he translates their classiness to 21st century century cinema—despite a willingness to compromise his suaveness with the goofy facial expressions and physical comedy demonstrated in O Brother. Zellweger, of course, is no stranger to the Roaring Twenties and Depression era, with memorable turns in Chicago and CinderellaMan. Now with a sassy performance reminiscent of His Girl Friday, she seems perfectly suited for this period of American history. Really, the acting is inspired throughout, from Krasinski's boy-scout appeal as Carter to Pryce's strictly business performance as Frazier, not to mention Peter Gerety in a small part as the no-nonsense football commissioner.

The star players get ready for the next play

Clooney also shines as a director, instilling some laughs just in the clever ways he frames a shot to set up a gag. The era is captured beautifully through newspaper headlines, radio broadcasts, newsreel footage, and a wonderful jazz score by the great Randy Newman. That's all complimented by the cinematography, which bathes the visuals with golden warmth appropriate to both football season and classic filmmaking.

The movie doesn't take itself too seriously, and you're best advised not to either. The big game of the finale ends with a play which, though thematically appropriate, works better in a screwball comedy than a football film. For that matter, the football antics become outpaced by the fast dialogue of the romantic triangle and the film's overall feel as a period piece. And though everyone is likeable, they're also either conniving or else have a sketchy background, meaning this isn't as much a movie where you root for a single character as much as you root for everything to work out for the best, whatever that may be—sort of like a musical.

As a tribute to old movies, Clooney's film juggles with too many elements—sports, romance, slapstick, Capra-esque cinema—and doesn't do full justice to any of them. Yet combined together with a strong cast, the film is brimming with nostalgia and charm, and thus most likely to connect with older audiences than younger. Leatherheads is not innovative comedy by any means, but any film that has you leaving the theater feeling better than when you came in has done its job well enough.

Talk About It

1. What role did rules play in shaping professional football? How did they help establish the sport? How did they hurt it? Why are rules necessary but imperfect? Are there parallels to be drawn here with rules in everyday living, such as the difference between the letter of the law and the spirit of the law?
2. Leatherheads has two central characters driven to do whatever it takes to do what they love. Is Dodge honorable in his pursuit to establish professional football? Is Lexie honorable in her pursuit of a hot story (and a position as assistant editor)? How are these two characters alike in their pursuits? How are they different?
3. Do you think Lexie was justified in running Carter's story in the newspaper? Was Carter reckless in sharing his story with a reporter? Wasn't Lexie just doing her job, trying to get ahead in a man's world? Or was there an ethical breach of trust on her part?

The Family Corner

Though rated PG-13 for brief strong language, the profanity in Leatherheads is neither brief (approximately 20 bad words, including misuse of the Lord's name) nor particularly strong (no f-bombs). There's also some mild sexual innuendo, and characters are seen drinking in Prohibition-era speakeasies. Despite the violence associated with some football games and barroom brawls, it's all handled as slapstick—some black eyes, but no blood. Aside from the language, Leatherheads is fairly wholesome, reminiscent of comedies from the Golden Age of Movies.

Photos © Copyright Smokehouse/Universal Pictures

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