Paul Newman in “Somebody Up There Likes Me.” (Courtesy)
The recent release of “Southpaw,” the new movie starring Jake Gyllenhaal as the ring rat of the title, again floats the paradigm of the American Dream realized in the toughest of all venues. Largely due to the primal, violent and intimate nature of pugilism, boxing has always been a storied staple of film throughout history.
“Southpaw” tries to achieve a post of solemnity and seriousness by playing against the archetype but in execution, it’s so heavily riddled with cliched jabs it never even flashes the mettle to reach the heights of any of the narratives it aches to be. One can understand the allure to Gyllenhaal, an actor who regularly seeks the challenge of off-the-beaten-path roles (take “Brokeback Mountain” or last year’s turn as a career-minded sociopath in “Nightcrawler”), as many an Oscar has been won by stepping in the ring (Robert De Niro and Hilary Swank to name two).
By definition, the sport demands blood and sweat, and total immersion by any thespian hoping to sell the gritty gut-pounding reality of the ring. It’s been a well-noted undertaking — the extremes actors go to in conditioning and preparation — and something De Niro took deeply to heart (going from a toned and ripped fighter to flabby nightclub host by tossing on 50 pounds) in immersing himself into the volatile persona of middleweight Jake LaMotta for Martin Scorsese’s heralded bio-pic, “Raging Bull” (1980). It’s one of the great fight films, if not the greatest, and while the bold choices by Scorsese — shooting in smoky black-and-white and a framed narrative arc — provided grounding and context, it was De Niro’s indelible turn, employing extreme method acting to soulfully get at the turbulent embodiment of LaMotta, that ensured the film of its mantle spot as a timeless American classic.
In looking back at the legacy of boxing on celluloid, three other Oscar winning films would likely hang at the top of anyone’s top 10, the most obvious of which, besides “Bull,” being “Rocky,” the 1976 Best Picture fairy tale and Cineplex-sweeping crowned pleaser which also capped an incredible real-life underdog story for screenwriter/actor Sylvester Stallone who had toiled thespian Palookaville before, and more recent hits about the gritty downside to ring life, “The Fighter” and Clint Eastwood’s “Million Dollar Baby.”
Below, arranged in alphabetical order, is a list composed of some other great pugilist profiles with a conscience lean to include the eclectic and the classic. Five receiving serious consideration but not making the bell: “Cinderella Man” (2005), “The Set-Up”(1947), “The Quiet Man” (1952), “The Boxer” (1997) and “The Great White Hope” (1970). Continue reading
Old-school old guys schooling buff newbies with plenty of tongue-in-cheek ha-has was the way of the first films. “Expendables 3” starts off that way, somewhere in a Baltic/Eastern Bloc country with Barney Ross (Stallone), the series quarterback of a covert military ops group, springing an old colleague (Wesley Snipes) amid great, witty barbs about “tax evasion” and “blades.” Then it’s onto Mogadishu, where Barney and crew go on a routine mission to stop an arms trade and get their asses handed to them. The fly in the ointment, and adding to the heavy list of new names, is Mel Gibson as Conrad Stonebanks, who’s as bad-assed as the whole Expendables crew and arguably the dark side of Gibson’s already certifiable Riggs persona from the “Lethal Weapon” franchise.
For What it's Worth 