Posted: 03/05/02
© 2002 Filmmonthly.com

Ali (2001)
by Hope Villanueva

Will Smith gets the Academy's nod with a nomination in his first serious starring lead role.

Upon hearing that Will Smith had just been cast as his royal highness of the boxing world, Muhammed Ali, I was understandably skeptical. I am in fact a big Will Smith fan and more so since his move from T.V. to movies. Yet, there was something odd about the casting choice in my mind. Smith rose to fame first as a rapper, then as a wise cracking street kid taken in by his filthy rich Uncle Phil on The Fresh Prince of Bel Air. He then moved into films, coming into his own with Independence Day and Enemy of the State. He has always had an easy and charisma in front of the camera, given an extra boost by his humor and good looks. And maybe from that last sentence it shouldn't have been such a surprise. Ali himself was known, not only for his prowess inside the ring but for his brassy, no concessions behavior outside of it. He too was beloved by the cameras and the ladies. Still, picturing the tall, lean Smith as a heavyweight, head-bashing machine was difficult.

How wrong was I?

Ali was far more than I expected in honesty and emotion. Director Michael Mann, the director responsible for tackling the LA crime scene in Heat and the tobacco industry in The Insider, helmed the project. His films are full of intensity and Ali was no exception. With a freshly beefed up Will Smith and a collage of chameleon-like performances, Mann constructed a fascinating film.

The film is not a life story of the boxer formerly known as Cassius Clay. Instead, it details, at length, a period in the fighter's life when he had everything stripped from him and how he goes about taking it back. Ali begins just after Cassius Clay has won his first championship title. He is the golden boy of the hour throughout the sporting world, displaying more ego and open fire than any who came before, giving him the presence of a rock star. He has a loyal following around him including his trainer, Bundini Brown (Jaime Foxx) and his father. He also takes up the practice of Islam and makes many friends in high places, including Malcolm X (Mario Van Peebles). His perfect world is thrown into upheaval when he refuses to be inducted into the United States Army. From then on, he sinks lower and lower, having his title and boxing license stripped from him, taking any chance from him to earn his title back. Somehow, he scrapes and digs his way back out, all the way to the championship fight.

Smith's charisma on screen played wonderfully into the Ali character and mystique and the physical work on the film was very impressive. Smith gained around 30 pounds of muscle to play the role and trained daily in a real boxing gym learning not how to act like a boxer, but how to BE a boxer. The hits he takes on screen are real hits, a credit to the commitment of Smith and Mann to on screen reality. The star is also backed up by a talented, though at times surprising, supporting cast. Mario Van Peebles leant a new side to Malcolm X, fleshing out the family side of the famous figure. Smith's real wife, Jada Pinkett-Smith, makes a good showing as Ali's first wife, Sonji, and Ali's second to last wife is portrayed with stillness and strength by Noni Gaye. It took me about half an hour to find Jon Voight, whose transformation into Ali's on-camera nemesis and off-camera ally, Howard Cossell. Smith and Ali's interactions were among my favorites in the film. However, the breakout surprise was Jamie Foxx. Usually known for his comedic work, Foxx revealed previously unknown acting depths as the strung out trainer who does his friend and client wrong.

My main complaint is with the movement of the piece. Mann, while knowing how to create a tense, dramatic moment, is somewhat indulgent with the cinematography. This 3-hour film could have been brought in at around 2 hours and have benefited. A prime example of this visual indulgence happens as the film build toward the infamous 'Rumble in the Jungle.' Ali goes for a run through the impoverished African villages near the fight location. As he runs, the poor children of the villages begin to run with him, chanting encouragement. Ali sees the children's murals on eroding walls as "Tomorrow," a beautiful piece of music featuring African chant plays under the scene. The effect is emotional and touching... then he keeps running for another 15 minutes of screen time. He runs - they're poor - I got it already! There are many moments of this strain that could have handled a closer shave.

For its minor setbacks, Ali is a worthwhile watch. You will need a large popcorn and large soda to get you through the three hours, but it is worth it. Ali is more painting than film, as is the case with many characters modeled on real people in movies. And he is drawn not as perfect, but quite flawed. And for all his faults and mistakes, you have to hand it to the man for sticking to his beliefs. Well, maybe you'll need two sodas.

Hope Villanueva is a teacher and thespian in Los Angeles, as well as experienced weekday freeway warrior.