hy is it so important that I go?” It’s a strange framing device to begin the film (especially with its historical contexts) long after the events of it are over, with the starring cast temporarily set aside, so that convincing lookalikes can gather and reminisce at Cooperstown. These aren’t the versions of the characters the audience will most closely associate with – or remember fondly – which makes it even odder that this would be utilized for what is essentially just a titles sequence. And, for a film that is already over two hours long, this tacks on unnecessary minutes.

Fortunately, once the assemblage of elderly women is set aside, the story proper can begin, set in 1943, when baseball’s stars join the war effort, removing them from stadiums and fields. Ira Lowenstein (David Strathairn) is charged by Walter Harvey (Garry Marshall) of Harvey Bars fame, who owns his own ball club, to figure out a way to replace the loss. But it’s going to be an uphill battle, especially when it comes to appeasing the public. Meanwhile, in Oregon, two sisters, statuesque Dottie (Geena Davis) and scrawnier Kit (Lori Petty), play baseball for the local Lukash Dairy team, though this bit of recreation means something completely different for each. Dottie merely does it to pass the time; Kit, however, is passionate, seeing the sport as an opportunity to escape the banality of existence on a small farm, though she’s perpetually trapped in the shadow of her more skillful sibling. And, indeed, that opportunity arrives in the form of scout Ernie Capadino (Jon Lovitz), a rude, wisecracking loudmouth who offers Dottie, the superior player, a chance at tryouts in Chicago for the crack idea of an all-girls team (a fictionalized account of the real-life Girls Professional Baseball League). She only agrees to go if Kit can join her, setting in motion a chance to make sports history.

“I like the high ones!” Right from the start, there’s an enormous amount of heart – and emotion – in this Penny Marshall-directed comedy-drama, adorned spectacularly by Hans Zimmer’s jazzy, trumpeting score. The All American Baseball League isn’t just about athleticism; it’s also something of a beauty contest, where attractive girls get priority treatment, considering they’re advertisements of sorts for the revolutionary concept of women replacing men on the diamond. They’re even required to attend charm and beauty school classes, and are restricted from smoking, drinking, and fraternizing with men. In a welcoming manner, many of the prospects stick up for one another, fighting back against the sexism, demonstrating a striking camaraderie full of generosity and kindness – even if there’s cattiness and rivalry among some of the more competitive ones. “What do you think we are? Ballplayers or ballerinas?”

Supplementing the struggles of proving their skills, gaining confidence, and being accepted by fans is a wealth of humor, highlighted by Tom Hanks as former professional – and current constant drunkard – Jimmy Dugan, who riotously behaves in the crassest of ways, brought on as a coach solely for his recognizable name. Although he intermittently takes attention away from the feminine stars, his arc is representative of the change in perspective from outsiders as the league strives to succeed against financial and social pushback – to ultimately earn respect. Amid the teamwork, revelry, and excitement on the field (often presented in montages), are countless scenarios of hilarity – from partying gone awry to dueling strategies within the dugout (with outrageous hand signals) to gimmicks for increasing attendance to Dugan getting thrown out of a game and berating a player, quite famously, for bursting into tears (“There’s no crying in baseball!”).

Although black-and-white newsreel clip narrations and a number of supporting characters tend to drag out the running time a touch (the star power and impact of characters played by Madonna, Rosie O’Donnell, Megan Cavanagh, and more, however, with larger-than-life personalities, are entirely satisfying), the compelling acknowledgement of sexism, the notion of extreme dedication that is unceremoniously dismissed (also due to sexism), the drama of sisterly contention, and the morbid probability of spouses dying overseas propel “A League of Their Own” into a level of significance and potency far beyond that of a mere sports comedy. It’s as heartfelt as it is funny. And, of course, the climax involves a World Series 7-game nail-biter, with a sibling showdown in the bottom of the 9th with two outs that definitely generates some anxiety and suspense (despite its overly manufactured orchestration and outcome). And, although the denouement must once again wrestle with the introduction from the start, revisiting the decades-later troupe that absolutely doesn’t need to be involved, the film remains inspirational, motivational, nostalgic, sweet, and highly entertaining.

– Mike Massie