The Path of a Champ in 'Ali'

By Esther Iverem
SeeingBlack.com Editor and Film Critic

Legendary soul singer Sam Cooke figures prominently in the opening scenes of "Ali," the new film about ten whirlwind years (1964-1974), in the life of boxing great Muhammad Ali. Think of Cooke's suave image, smooth rum vocals and barely contained heat as powerful metaphors for these turbulent years of Black America, when Ali rose to fame as a light-footed boxer, and then became a spokesman for Black resistance to a racist status quo.

There are many such metaphors and mediums in this energetic movie, which tells a story about the 60's as much as it tells about Ali. The champ's life is a prism through which the decade unfolds: the flowering and assassination of Malcolm X, a civil rights movement in crisis, anger in urban streets and the rise of a Black (economic, social) power movement—embodied ridiculously in the ambitions of big hair boxing promoter Don King. As much as we see and hear Sam Cooke, there is a dissonance here worthy of Thelonious Monk or Sun Ra in both the film's era and style. There are interwoven images and competing sounds that we are unaccustomed to seeing in Hollywood's building of African-American narrative.

Neither the creative direction by Michael Mann, the story by Gregory Allen Howard or the fine acting job by Will Smith idealizes Ali. Perhaps the dissonance, which borders on disjunction at times, allows all of us to see what we desire. Fans might focus on Ali's outspokeness, his dialogue at one moment—worthy of August Wilson soliloquy—when he states his opposition to fighting in Vietnam for a country that doesn't fight for him at home. The indifferent might detect in the champ a vacant space as he displays his womanizing, his blind eye for the shortcomings of the Nation of Islam and a simple country boy slowness that contrasts with his fast tongue, feet and fists. Here, Ali is a man unfolding himself and living in the moment, often simultaneously displaying and fighting his weaknesses.

There is impressive line-up of talent that contributes to the symphony. In his best role to date, Mario Van Peebles plays a confident and down-to-earth Malcolm X. Joe Morton fills every inch of the role of Chauncy Eskridge, Ali's attorney who guided him through the legal process after Ali was stripped of his boxing license and title. As Drew "Bundini" Brown, Jamie Foxx breaks up some of the heaviness with his grits and sausage humor. Though Ali was married three times during the time period roughly covered by this film, the wives and children are stray chords in this composition, serving as window-dressing to help us understand the flawed champ. This is very much a man's flick and the boxing scenes, enhanced with audio that makes punches sound like explosions, do not disappoint.

There are times when it is difficult to keep track of where the action is taking place, as well as the passage of time. The viewer is required to keep up the pace without too much explanation. This is not a play-by-the-numbers Ali. And the resulting composition, while not always flowing smoothly, gets better and gains power as it goes along.

Esther Iverem's film reviews also appear on the entertainment pages of BET.com

-- December 21, 2001

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