While Hollywood may not be California's biggest industry, it is probably what the world, if not our own country, thinks of first when they think of California.

Representing the "finest" of our signature industry, this year's crop of Academy Awards best film nominees include Steven Spielberg's "Munich," Paul Haggis' "Crash," George Clooney's "Good Night, and Good Luck," Bennett Miller's "Capote" and, of course, the current Hollywood darling, Ang Lee's "Brokeback Mountain."

In an article entitled "Prize Fighters," Newsweek applauds the courage of these five men who directed what they call moving, provocative films. As Newsweek says, "None of these filmmakers played it safe this year, taking risks with stories that were radical, controversial and divisive."

Considering this noble lineup, the Academy has made some surprising omissions. In the inexplicably overlooked "A History of Violence," Viggo Morteson, a mob killer trying to hide from his past, lies to his family and local law enforcement - endangering all of them - rapes his wife, turns his son into a killer, and kills his own brother (among many others). But in the end, he is welcomed back into the loving bosom of his family with his small daughter's symbolic gesture of offering a meal. Nothing says "family" in Hollywood like a good murder and meatloaf.

Obviously, the Academy can only take so much controversy, which must be why it also largely ignored the most radical film of the year, "Cinderella Man." In a film with no sex or cursing and violence limited to the boxing ring, Ron Howard directs this true-life story of a husband, father and boxer, Jim Braddock, played by Russell Crowe, and his wife, Mae, played by Renee Zelwegger.

In this shocking portrayal, a straight, white, faithful husband is married to a straight, white, stay-at-home mom. They love and support each other and their two children through good times and bad.

Braddock suffers setbacks in his chosen profession (boxing) and his family's fortunes plummet. Rather than blame anyone, he simply sets out each morning looking for an honest day's work. When presented with an opportunity to get back into boxing, which his wife despises, he chooses to do so and she chooses to support him.

At one point, while the family is extremely hungry, the young son steals some food. However, Braddock, eschewing moral relativism, would rather his family was hungry than his son be a thief and so returns the food. The family is forced to accept government welfare, playing right into the "It takes a village" philosophy.

The Braddocks' problems reach a point where Mae feels she has no choice but to temporarily give the kids to another family member. Braddock swallows his pride, borrows the necessary money to turn the utilities back on and keeps his family together, which is all they ever wanted.

In the movie's most haunting scene, an entire community gathers peacefully inside a local church and prays for the welfare and success of one of their own.

In the end, the family climbs back on top, not on the backs of others, but through their own hard work. They never turn to drugs or alcohol, have affairs, or brutalize each other. They reluctantly ask for help when absolutely necessary, but repay it when able. They take chances, support each other and wind up successful - in every way measurable and imaginable.

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