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‘The Fighter’ could be an Oscar contender. We’ve seen this before.
EE
KLMNO MOVIES
Boxing’s always been a hitwithHollywood
Champ,” playing a down-and-out boxer who returns to the ring for his young son (Jackie Cooper). John Garfield was nominated for lead actor for 1947’s “Body and Soul” as a poor kidwhobecomesa champion fighter only to lose his way. Kirk Douglas earned his first Oscar nomination and became an overnight sensation as a ruthless boxer in 1949’s “Champion.” Sylvester Stallone’s “Rocky”
took home the best-picture Acad- emy Award in 1977, while Robert De Niro earned his first lead-ac- tor Oscar for his performance as Jake LaMotta in 1980’s “Raging Bull.” Clint Eastwood scored a knockoutpunchwith 2004’s“Mil- lion Dollar Baby,” which won for Best Picture, Director, Actress (for Hilary Swank as a female boxer) and Supporting Actor (Morgan Freeman as an ex-fight- er).
Also nominated for lead actor
were James Earl Jones in 1970’s “The Great White Hope,” Denzel Washington for 2000’s “The Hur- ricane” and Will Smith in 2001’s “Ali.” Though not about boxing itself, the 1954 Best Picture win- ner,“OntheWaterfront,” revolved around a former boxer (Marlon Brando won the Best Actor Oscar as Terry Malloy) who “coulda been a contender.” And in 1952’s “The QuietMan,” for which John Ford won his fourth Oscar for directing, John Wayne plays a disgraced boxer who killed a man in the ring in America who re- turns to his birthplace in Ireland. Boxing is particularly suited to
the cinema because it offers high- stakes drama, yet its one-on-one action is easier to film than team athletics, experts say. Compared with more popular
sports such as baseball, football and basketball, boxing’s action “takes place in a more simplified arena,” says Stephen Farber, a film criticandhistorian. “It’s easi- er to photograph and makes it more dramatic than these large team sports where sometimes it’s harder to get your bearings visu- ally to seewhat’shappeningin the footballgameandwhoto root for. “You have to get invested into a
whole team rather than an indi- vidual,” he adds. “There is some- thing more intense and compel- ling when you have one person you are rooting for when they are fighting against another person.” Elements such as organized
crime and corruption often asso- ciated with boxing add to the narrative possibilities. “I think one of the attractions
to writers and filmmaking with boxing is that you have the most admirable of characterizations and then the absolute lowest dregs in such close proximity that it makes for compelling stories,” says film-noir historian Alan K. Rode.
Rode says he considers Robert
Wise’s 1949 movie “The Set-Up” with Robert Ryan the best boxing film ever made, even though it failed to garner any Oscar consid- eration. “It takes you into the seamier
side of life with tank-town box- ing,” says Rode. “Ryan is a guy whois being used as a profession- alopponent,atrial horse,andstill has the dream of making it. His wife, up in the cozy hotel, is buying soup and hamburgers for dinner after her husband gets the stuffing beaten out of him. And then there’s the chiseling manag- er. It was a different world than what mass audiences were ex- posed to in 1949. “Boxing lends itself to noir be-
cause formethe essence of noir is when the protagonist knows what he is doing is wrong and they do it anyway — whether it’s lust or money,” Rode adds. “ Box- ing provides a fertile ground for that.”
Whether the fighter is pure of
heart or morally compromised, the sport’s potential lethality is another major draw for filmmak- ers.
“It’s something physically very
dangerous,” says Farber. “I mean, nobody is going to get killed play- ing baseball.”
—Los Angeles Times
SUNDAY, DECEMBER 12, 2010
The neighbors have home delivery.
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