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Moonlight turns out to be an elderly Main Street hero, and Ray helps to satisfy his last unfulfilled desire. He travels to Boston to rescue a misanthropic, reclusive writer "Terence Mann" (James Earl Jones, in a character famously modeled on author J. Salinger) with a trip to Fenway Park, and the two then travel deep into the wilds of Minnesota to collect one Archie "Moonlight" Graham, heretofore only the answer to a trivia question. In baseball, Ray Kinsella finds redemption for himself by connecting his own baseball past with the game's own mythic figures.
Finally, you speak of what might have happened, as you leave the park sunburned and sticky, bloated with too many Cokes and hot dogs, and serenely happy.
You speak of what just happened -- a triple off the wall in left center, a force play at second, a called strike right down the pipe.
And, as a coda, there is Ray's own father, a dimly-recalled figure made real again through baseball.
Finally, back at the farm, the game itself is redeemed, and a long-ago off-the-field injustice is righted where it should be: on the diamond.
At the end, the film's disturbing reaffirmation of capitalism as a kind of American spirituality is jarring, but even that is oddly fitting.
can be rightly criticized for its sentimentality, and its willingness to resolve the most vexing human problems through a ballgame with the Mount Olympus All-Stars.
"We’ve deferred what it means to be grown-ups," including marriage and children. Robinson is taking a year-long sabbatical to focus on friends, family, relationships.
"We’re now going through a second coming of age," the director says.
You and your father speak of what might happen next -- a bunt, a steal, a hit-and-run.
You've brought your glove, in case you're asked to field a foul ball.