The film Text copyright (c) Filmverdict 2006-present. Any film titles and artwork used are copyright of their respective owners.
Coming in the middle of a biopic boom which seems to have subsided now, Ali was clearly intended to be the frontrunner in that year's Academy Awards race. Worthy subject matter - the sportsman of the century, no less - combined with Michael Mann's direction, and headlined by a megastar who had never tested himself to this extent before, seemed to signal awards. That it was only nominated for two statuettes, both in the acting categories (Will Smith for Best Actor and an unrecognisable Jon Voight for Supporting) should not be seen as an indictment of the film's quality; Ali is a captivating, fascinating watch, befitting the real man whose (partial) life story it tells. The film mainly covers the period from Ali's - then Cassius Clay - first title win, deals with his exile from the sport due to his refusal to fight in Vietnam, and concludes with the famous Rumble in the Jungle against George Foreman in Zaire. By concentrating on one ten-year passage in the man's life, Ali avoids the common biopic pitfall of trying to tell a whole life story from beginning to end, with invariably dramatically unsatisfying results.
The 2002 Oscars ceremony was celebrated for being the first time black actors had won in both leading male and female categories, but it was Denzel Washington, not Will Smith, who found himself clutching the prize in the former category. In hindsight it seems a surprising and basically incorrect decision; Washington was perfectly good in Training Day but Smith truly excels in Ali. Playing such an iconic figure, never mind someone who is still alive, can be nigh impossible, but Smith washes away any doubts with a hugely charismatic and utterly convincing performance, all of his extreme commitment to the role (he trained for a year) paying off on screen. Smith truly inhabits Ali, rendering any doubts about his casting completely void. Of course, a major part of his performance is within the ring, and Smith never wavers for a moment. Mann shoots the boxing with a typical sense of bruising reality, resulting in pugilistic set-pieces to rival even Raging Bull's. These fights have an intensity and a verisimilitude that is arguably unparalleled.
All of Mann's directorial trademarks are here, and mostly used to brilliant effect. Mann's films always feel like they are truly born in the editing room, and it's no different here; in particular, the opening montage set to a Sam Cooke medley is absolutely superb. Mann also tends to eschew character introductions of any sort, but the practice - which felt like a shortcoming in the recent Public Enemies and split opinions in Miami Vice - works here, contributing to the feeling of reality. When you're watching a Mann film, particularly a good one, it tends to feel like you're simply watching life, not a manufactured storyline, unfold. It's the ideal way to present a biopic; other biopics (Ron Howard's Cinderella Man, for instance) can feel forced into a typical three-act structure, whereas in reality such a thing does not exist. The pace does flag in the later stages as the Rumble approaches, and Mann seems to become (understandably) intoxicated by the African surroundings. Bit because of Smith, it's no chore to sit through, and the Rumble is worth the wait.
The extras
Limited extras mean that this 2-disc set is a missed opportunity. The Making Of, which runs for 30 minutes, is diverting, if a bit too self-congratulatory, while the Behind the Scenes footage (~10 mins) and interview soundbites soon become tiresome. That's your lot.
The summary
Michael Mann's unvarnished, compelling biopic is given disappointing DVD treatment, but at current prices that shouldn't be much of a disincentive. Far better than its critical consensus at the time would have you believe.
Agree? Disagree? Say so in the Guestbook!