The Natural 4K 1984 DC

The Natural is a 1984 film adaptation of Bernard Malamud's 1952 baseball novel of the same name, directed by Barry Levinson and starring Robert Redford. The film, like the book, recounts the experiences of Roy Hobbs, an individual with great "natural" baseball talent, spanning decades of Roy's success and his suffering. The film was nominated for four Academy Awards, including Best Supporting Actress (Glenn Close), and nominated for a Golden Globe Award for Best Supporting Actress (Kim Basinger). Many of the baseball scenes were filmed in Buffalo, New York's War Memorial Stadium, built in 1937 and demolished a few years after the film was produced. Buffalo's All-High Stadium stood in for Chicago's Wrigley Field in a key scene.

Roy Hobbs (Robert Redford) is a child, playing baseball with his father on the family farm. Roy's father dies suddenly while Roy is still young, collapsing under a tree. That tree is split in half by lightning, and young Roy carves a baseball bat from it, on which he burns the image of a lightning bolt and the label 'Wonderboy'. In 1923, a 19-year old Hobbs is granted a tryout by the Chicago Cubs as a pitcher. The train to Chicago makes a stop at a carnival and Roy is challenged to strike out "The Whammer" (clearly based on Babe Ruth) (Joe Don Baker), the top hitter in the major leagues.

Roy Hobbs (Robert Redford) is a child, playing baseball with his father on the family farm. Roy's father dies suddenly while Roy is still young, collapsing under a tree. That tree is split in half by lightning, and young Roy carves a baseball bat from it, on which he burns the image of a lightning bolt and the label 'Wonderboy'. In 1923, a 19-year old Hobbs is granted a tryout by the Chicago Cubs as a pitcher…

A richly illustrated look at the intersection of art and science in Renaissance Europe

A richly illustrated look at the intersection of art and science in Renaissance Europe

Makes Schelling’s dialogue Bruno readily accessible to the English-language reader, with valuable commentary on the work itself, which details Schelling’s account of his differences from Fichte.