“Ali” (USA 2001) ****
Directed by Michael Mann
If Michael Mann’s (“The Insider”, “Heat”) “Ali” begins in 1964 and ends in 1974 midway during the life of arguably the most reviled and controversial heavyweight champion of all time, there is an obvious story that the writer/director wants told. During the ten year period, Cassius Clay (Will Smith) wins the heavyweight championship from Sonny Liston, befriends and loses his mentor, Malcolm X (Mario Van Peebles), marries and divorces, alters his name to Muhammad Ali, dodges the draft, struggles with the conviction losing his title in the process and embarks on the awesome task of regaining it from George Foreman in the film’s climatic fight in Zaire. The story of Ali is well-known, but it is the political and social issues that are of concern to Mann, as it was the circle of deceit surrounding the tobacco industry in “The Insider”, in this new outtake of the Muhammad Ali where the man takes second fiddle.
It is of interest to note that the 1977 version called “The Greatest” (played by Ali himself) dealt with the same selective biography. Fortunately, Mann and the other three writers avoids the pitfall of falling into straight hero-worship mode. But the filmmakers have the undaunted task of creating a hero and making him likeable. So, the Mann has dispensed with and there is no mention of Ali as ‘the greatest’. He is simply ‘the people’s champ’. His quick one-liners are left intact and much of the punishment he endures in the various bouts amplified, allowing the viewer to gain a greater affability for a generally self-centred proud hero who talks too much. Even his infidelity is given a soft touch by his admission of his general love for women as being a weakness. Quieter scenes of the celebrity in his hotel suite or sweet-talking the women make him more human.
Will Smith accomplishes a remarkable Ali, learning his boxing moves, mannerisms, speech and ultimately gaining 35 pounds to get into fight-fit form. The camerawork is focused on his features as much as his dance-work in the ring. Jon Voight plays the role of TV personality Howard Cosell, almost completely unrecognizable with make-up, to full hilt complete with accent and outlandish mannerisms. The film’s best scenes have the two sparring each other in conversation, Cosell needing Ali to up his Nelson ratings as much as Ali needs him to voice his course. Mario Van Peebles downplays the important role of Malcolm X as much as Mann’s camera often blurs the images in his scenes, as if to emphasize X’s role as secondary (to Ali’s) while Ron Silver ups the angst as manager Angelo Dundee. For realism, the casting director has Peebles’ two daughters play X’s two daughters.
The fight scenes are executed effectively, the camera spending enough time on Ali or the opponent and dancing around obtaining a different variation of shots. The first bout comes across as the most exciting despite the viewer knowing the outcome of the Liston/Clay match.
Lubezki’s cinematography captures the atmosphere of the 70s from the smoky hazy clubs to the bright lights of Zaire. The best scene has Ali jogging through the dirt streets around a village in Zaire. The music here is triple layered – lyrics of a different song heard above a light background with occasional chants. It is here that art direction, photography and music coerce bringing forth a touch of genius.
“The Insider” (Mann’s previous film) and “Ali” share the common trait of documenting an individual’s fight against a conspiracy. While “The Insider” (clearly Mann’s best film) was fashioned as an engrossing thriller with the significant subject of conspiracy, the inherent problem of “Ali” the film lies in the relative simplicity of the issues at hand. Though Mann enlarges them to ‘movie proportions’ i.e. racial and rights representations, one cannot help but feel that Ali’s mentor Malcolm X had probably more interesting stories to tell. Even the human drama surrounding Ali’s failed marriages sparks greater interest. It all feels like that television special made when Ali was at the height of his fame. Celebrity guests were featured but when asked to say some words about Ali why this man is the greatest, many like Jane Fonda look dumbfounded into the camera with not much to say. Hey – Elvis did not dodge the draft and fought in the army and that is why he is the King!
– Gilbert –
