ERIN BROCKOVICH proves that some stories have a built-in ‘can’t fail’ quality. They may concern an event that holds universal appeal, even if it’s tragic (the Titanic), the exploits of legendary heroes of old (King Arthur, Robin Hood) or new (007, Avengers) or grand-scale Good Vs. Evil arrays of mythical people and creatures (Mssrs. Skywalker, Potter, Baggins). The ‘Losers’ Coming from Behind category isn’t restricted to fictional washed-up boxers or immortalized martyrs: sometimes the phoenix rising from the ashes is the takes-no-s–t lady from the apartment complex on the downside of town, driving a beat-to-crap hatchback.

ED: “You might want to re-think your wardrobe a little.”  ERIN: “Well, as long as I have one ass instead of two I’ll wear what I like if that’s all right with you.”

The true story of a beleaguered single mom-turned class action crusader was adapted for this critic-applauded, audience-arousing 2000 hit by Susannah Grant (28 Days, In Her Shoes) who backstopped her POV offering that “Fairy tales were important to me. Aren’t they for any kid? My sister says I spent a good five years of my youth convinced I would grow up to be a princess.” Fact-to-film lucked out with an ace director on a roll and a real life-heroine meets real deal movie star in Julia Roberts, kickin’ A & literally taking names as Erin made epic. She slam-dunked all the year’s major acting awards, topped by the Oscar as Best Actress. *

Southern California, 1993. Up against a financial wall after losing a lawsuit, down but not out, brash and flashy Erin Brockovich, 33 (Roberts, 33) talks her way into a job with lawyer Edward Masry (Albert Finney). Digging into files for a real estate case involving the Pacific Gas and Electric Company, Erin finds suspicious medical records that indicate PG&E has something to hide from the citizens of a small town. Interviews with affected families and scientific evidence leads Ed and Erin to a class action lawsuit, a David v. Goliath scenario giving their limited resources vs. PG&E’s power-packed pockets.

It’s a killer (literally) of a story, superbly directed by the ever-surprising Steven Soderbergh, bringing together several levels of “human interest” drama, a social problem picture with a made-to-order grassroots heroine. Finney shrewdly never overplays Ed’s exasperation, and Aaron Eckhart adds a calming element as Erin’s laid back biker boyfriend who takes care of her three kids while her time and focus gets consumed in the vast scope of the case.

Roberts revels in Erin’s reactive dynamism and survivor spirit, a showstopper turn that combines tart humor, knowing irony, reserves of canny intuition, confident sexuality, earned defensiveness and a tigress talent for battle. With freer modern trappings, it’s an audience-rousing throwback to the kind of brassy dame (whose moxie shields a hurt heart) played in the old days by a tough cookie like Barbara Stanwyck.

Of course they didn’t let ’em swear back then (that was offscreen) and in the 30s or 40s something like this would’ve set Warner’s or Fox back maybe two million bucks. Ten Presidents later it took $52,000,000 to mount, a honking 38.6% of that for Julia’s fee, breaking glass into the 20mil boys club. Cash payoff put it 13th place in 2000, the $125,600,000 home team take backed by $130,700,000 from cheering sections abroad.

The leading lady’s win was backed by nominations for Best Picture, Director (Soderbergh also nom’d for Traffic, and winning), Supporting Actor (Finney, his 5th time up–Tom Jones, The Dresser, Murder On The Orient Express, Under the Volcano) and Ms. Grant’s salt-peppered Screenplay.

With Marg Helgenberger (touching), Tracey Walter, Cherry Jones, Peter Coyote, Conchata Ferrell (always welcome), Scotty Leavenworth. The real Erin cameos as a waitress, named ‘Julia’. 131 minutes.

* Soderbergh, then a darling of the director-worshipers for his string of indies, chuckled off his surprise segue into mainstream manna: “I love the fact that it is about the least hip thing you can imagine. There’s absolutely nothing in this movie for a film student to enjoy. I love to think of the Columbia film students looking at it going,’What happened to you?'”

Roberts career-topper was such a shoo-in for peer gold that before the Academy night critic David Ansen cracked “Let’s put it this way, if Julia Roberts acts surprised when they call her name, she should get a second Oscar for best performance at an awards ceremony.”

Girl Power, Class of 2000—Crouching Tiger Hidden Dragon, Charlie’s Angels, Miss Congeniality, Chocolat, Bring It On, Coyote Ugly, Nurse Betty, You Can Count On Me, I Dreamed Of Africa, Malèna.