After Rocky, Raging Bull, Ali, Million Dollar Baby, Cinderella man, and many others, one begins to wonder how many more bo xing movies we really need in the world, and what a new one can bring to the table. Indeed, watching The Fighter, one can't help but wonder what the film can do to renew the genre and bring something new to the table. Unfortunately, the answer is "nothing much". The script is a pretty conventional rags-to-riches story, whose most interesting element is the relationship between Micky Ward and his brother, Dickie Eklund. Luckily, Russell and company recognized that this was the strongest aspect of what is otherwise a good but ordinary and somewhat flawed script, with some problems with flat characterizations and unnatural-sounding dialogue. However, everyone involved in the film tries their best to transcend the script, and for the most part, they succeed.
Russell's direction is absolutely fantastic. His use of the camera – which still has that indie looseness, free-moving and hand-held and gritty quality to it, which really adds to the atmosphere and energy the film tries to capture. His staging of scenes is fantastic and he usually just lets his actors riff off of one another, sometimes sticking to the script but sometimes talking over one another, interrupting, and creating a very dynamic back-and- forth that further lends to the realistic quality of the film and its setting. A fantastic rock- oriented soundtrack only adds to this energy and atmosphere. In terms of bringing something new to the table of bo xing movies, Russell employs a very interesting technique of filming the bo xing scenes as they were shown on HBO pay-per-view TV in the 90's; cheap video quality, multi-camera set-ups, the whole package. The bo xing scenes were all shot over 3 days, which left the crew just enough time to run through one bo xing match at a time and just shooting it as if it were an actual match, the cameras capturing everything, including mistakes and mess-ups and spontaneous, uncontrolled occurrences which yet again add to the very loose and realistic style the film attempts to capture. It is a very interesting and unique technique I have not seen used before, and I thought it was a fresh approach to bo xing scenes, which have become very conventional ever since Raging Bull.
Ultimately, though, this is a movie about two brothers and their overcoming demons and obstacles in order to succeed and reach their mutual goal, together. Being a character-based film, the success of the acting is a key to the success of the film, and luckily, it is in this field that the film succeeds the most. Mark Wahlberg is adequate in the lead role of Micky Ward. I have never thought much of him as an actor and think that he did an "okay" job on this film; not bad but not particularly noteworthy. However, his supporting cast all shine, and his chemistry with them, especially with Christian Bale, is really what sells the movie for me. Bale's achievement is nothing short of revolutionary. He completely steals the show as Micky's crack-addicted older brother and trainer, a former boxer himself, and a shadow of his old self, except he can still throw one hell of a punch and knows just what Micky needs to do in order to succeed. Bale completely embodies the role and really gives it his all – both in his appearance (hollow cheeks, bulgy eyes, balding) but also in his bravura performance. It is an incredible feat of acting, one of the best I have seen all year; Bale's best work as an actor yet, and totally deserving of all the accolades it will inevitably receive. Also worth mentioning though are the two main female supporting roles, namely Amy Adams as the tough and sassy but supportive girlfriend, and Melissa Leo as the overbearing mother. Both actresses are very much out of their comfort zone, which is just what makes their performances so good. Adams, who has never really shown her tough side like she does in this film, does a spectacular job, and really creates someone human and relatable out of what is otherwise an underwritten character. The same goes for Melissa Leo: her character could have gone the completely one-dimensional villainous way, but Leo adds a certain humanity to the character which just makes her seem more sad than vicious.
Ultimately, The Fighter tells a pretty conventional story in an interesting and not necessarily conventional way. It is a film that could have been over-dramatized and heavy-handed had it been put in another director's hands (see Cinderella Man for an example of over- dramatization), but Russell and his cast reign it in and set out to create a very specific atmosphere and set a particular mood that lends the film a sense of realism and a very unique dynamic energy that, with the help of the fantastic performances from the cast, help carry it above and beyond its conventional script.
