One Good Pitch
Director : Parker Hill
The most powerful words are sometimes those that are left unsaid. The words that teeter on our tongues before being swallowed back down. The words that seem so inconsequential in their ability to articulate how we feel that staying silent is safer. But more often than not, these words are the ones others desperately need to hear and in our fear, we fail them. It is this idea of the unsaid that Parker Hill explores in One Good Pitch. A story about Andrew, who hopes that a game of catch will help him reconnect with his father. In true Parker Hill style though, the sparsity of this description, and the film itself, belies a far more complex and nuanced story. Over four minutes, Hill delicately unwraps the most paternal of games to reveal a complex relationship, tense and troubled, moored in masculinity. As Andrew repeatedly fails to make the perfect pitch, his father Richard becomes increasingly frustrated. A frustration masked by baseball, but deeply rooted in Richard’s disappointment in his son and in himself. Written by Hill and Evan Ari Kelman, the script is subtle but provocative, while the direction has a simple beauty that draws you so deeply into the relationship that the final moments arrive seemingly out of the blue, with surprising impact. It’s an amazing four minutes, enhanced by the performances of the two leads as well as the unobtrusive but stirring score from James Newberry. It’s a story for our time, about the rules society has for men and boys. About the crippling and isolating inability to articulate emotions and about the confining and damaging impact of rigid masculinity. One Good Pitch says little, but speaks volumes.