The film version of The Natural pulls off the neat trick of conveying the spirit of the Bernard Malamud novel upon which it is based, even while changing both the outcome and the meaning of Malamud’s closing chapters. In his first film appearance in four years, Robert Redford plays Roy Hobbs, a farm boy with a hankering to be a great baseball player. With his faithful homemade bat "Wonderboy" in hand, Roy heads to the big city. En route, he arouses the fascination of the mysterious Harriet Bird (Barbara Hershey). Luring the boy to a hotel room, Harriet asks Roy what he wants out of life. Roy brashly responds he wants to be "the best there is," whereupon Harriet whips out a gun and shoots Roy down. Sixteen years later, a humbler Roy Hobbs emerges from the bush leagues to become a 35-year-old "rookie" on the 1939 lineup of the New York Knights. He soon becomes the team's star player, and in so doing once more attracts enigmatic woman Memo Paris (Kim Basinger), the glamorous niece of the Knights' manager Pop Fisher (Wilford Brimley) and the mistress of Rothstein-like gambler Gus Sands (a curiously unbilled Darren McGavin). Roy's fascination with Memo compromises his ability to play, but this time he finds salvation in the form the angelic Iris Gaines (Glenn Close), his childhood sweetheart. From this point forward, the script for The Natural bears very little resemblance to the Malamud original. Without giving anything away, it can be said that Roy Hobbs is given a once-in-a-lifetime opportunity to compensate for the mistakes of his youth, despite the demonic intrusion of inexplicably spiteful sports writer Max Mercy (Robert Duvall). The Natural elevates the art of slow-motion photography to new heights; while this technique would become precious and boring in later baseball films, it works beautifully here, as does the decision by director Barry Levinson and cinematographer Caleb Deschanel to convey the symbolism inherent in the story in purely visual rather than ...