Four years after Rocky, another seminal film delved into the life of a practitioner of 'the sweet science'. Scorcese stepped into the ring, directing Robert De Niro as Jake LaMotta in Raging Bull. Oscars followed for the lead actor and for the cutting room work of his editor Thelma Schoonmaker. While Rocky had been a fictional sports drama, Scorcese's effort demonstrated the powerful combination of a biographical tale that benefitted from a strong cast, conscientiously written script and high-calibre direction.
While some more recent biographical boxing dramas have seen great performances in the lead/title roles (Oscar nominations for Will Smith in Ali and Denzel Washington in The Hurricane), it is not unreasonable to say that Raging Bull has remained effectively unchallenged.
David O. Russell's The Fighter is the story of 'Irish' Mickey Ward, and the fact that the stand-out individual performance does not come from the man playing Ward is perhaps worth noting. While Mark Wahlberg once again shows his ability to excel under good direction and with the benefit of a fine script, the show is stolen by Christian Bale's portrayal of Ward's half-brother Dicky Eklund. His mind addled by drug abuse and the shortcomings of his own boxing career still casting shadow on his life, Eklund is a tragic figure. A thin veneer of care-free confidence masks the insecurity of a man whos training and guidance only serves to hold his younger brother back. The closing credits of Russell's film feature a brief clip of the real Ward and Eklund, which proves an effective method of demonstrating just how pitch-perfect Bale's performance is.
Some themes in The Fighter arguably echo some of the films mentioned above. Lowell, Massachusetts is to Ward what the Kensington area of Philadephia was to Rocky Balboa; the brotherly issues between Ward and Eklund are reminiscent of Jake (De Niro) and Joey LaMotta (Pesci) in Raging Bull; Charlene (Amy Adams) presents herself as an Adrian-esque figure, the local love interest and emotional support.
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| They could only look on as his opponent ate raw meat between rounds. |
While we observe as Ward tries to prepare for fights and shed his 'stepping stone' status in the boxing world, the elements that constrain his progress reveal themselves. Before watching this film I'd recommend looking at a photo of Melissa Leo as she appears normally, as her transformation into Mickey's mother Alice is visually striking. With her tacky jewellry, peroxide-coiffured hair, and chain smoking, Alice Ward depends on her son's successes and is complete denial about Dicky's drug habit. Accompanying her throughout are the boys' seven sisters, an abrasive group of women who function as a kind of Greek chorus, punctuating group conversations with remarks (and insults aimed at Charlene).
In-ring scenes are shot on rather grainy film, emphasising the biographical aspect by giving it a televised appearance while retaining large elements of the brutal pugilism of boxing films previous. The narrative takes its course in a frankly unsurprising manner, however the strength in Russell's film lies in the performances given by its cast and how the director demonstrates the contrast between Mickey's life amongst his family and when he is with Charlene. The audial cacophony that engulfs family scenes in contrast with the relative peacefulness of his time with the local bar girl is a conspicuous example of this.
The Fighter is a full-blooded film; steeped in a kind of familiar bleakness that is punctuated with moments of triumph for our protagonist (both in the ring and outside of it). Bale, Leo and Adams can all rightly consider themselves in the running for their respective Oscar categories. While its narrative arc will not raise too many eye-brows, the performances given and the quality of David O. Russell's direction make it very worthwhile viewing.
Verdict: 8.5/10
