Daniel Cann

The films success clearly then depends on a strong and convincing central performance, however, it is given a further boost by an excellent supporting cast. Jamie Foxx (Any Given Sunday) shows what a growing talent he is by giving us a vivid and charismatic portrayal of one of Ali’s cornermen and court jester, Drew ‘Bundini’ Brown. To watch Smith and Foxx bounce off each other and clown about evokes the glory years of Ali’s boxing career. Foxx delivers his lines in a sincere and heartfelt manner that brings this complicated and fascinating individual to life. Ron Silver, another great character actor adds further weight and richness as Ali’s chief second and trainer, Angelo Dundee. Again, the scenes between Ali and Dundee are painstakingly authentic, whether preparing in Miami’s grimy Fifth Street Gym or in the dressing room the audience will note the calm professionalism of Dundee and his subtle influence in building Ali from a cocky youngster into a mature and assured World Champion.

The era of the 1960s and 1970s is presented excellently in the set designs and costume. The audience really will feel transported back into the era of Vietnam, Nixon and Watergate.

The film could have been straightforward rags to riches sports biopic. Another formulaic take on small town young man makes good meeting shady characters on his ascent to the top. The film, like the boxer, deftly side steps and avoids pitfalls such as this. Mann has instead concentrated on showing us the years 1964 to 1974. We see a young Ali take on the seemingly invincible World Heavyweight Champion, the brooding Sonny Liston. Through to the Vietnam years when Ali had his title unjustly stripped from him for refusing the draft and finally to his stirring comeback fight as an aging athlete and huge underdog for the World Title against another imposing Champion, George Foreman in Zaire, Africa.

Yes we do see the press conferences and the training, but we also see the private Ali at home relaxing with his wife and children. We see him chatting privately with his friends Malcolm X the civil rights leader (played with restraint by Mario Van Peebles) and Howard Bingham the young freelance photographer (Jeffrey Wright). We also see Ali’s relationships with his parents and his brother. The film shows us the man behind the one-liners and clowning. We see an introspective Ali when he suffered with self-doubt and questioned what he was doing. In this respect, the film shows its true strength. These are not one - dimensional caricatures of sports personalities but strong accurate portrayals, true character studies. The film has an almost documentary feel to it as we see Ali and his entourage shuttle back and forth between their homes, hotels and different countries together over the span of ten years.

The fight scenes are up there with the best. Excellent cinematography and choreography between the protagonists makes the viewer almost feel the rope burns and the leather of the gloves. Again, this could easily have given way to parody, but, fortunately, Mann and his team have researched this area well and the fights and the locations for them are painstakingly authentic. You will wince with empathy as Ali rumbles with his ring foes: Liston, Frazier and Foreman.

One further strong mention in the acting stakes must go to Jon Voight. He is an absolute revelation and almost unrecognisable under the latex as the famous sports - caster and Ali’s verbal sparring partner, Howard Cosell. The scenes with Ali and Cosell are full of warmth, good humour and drama. These are what lift this film above just another run of the mill feel-good sports bio. You get a real sense of danger that Ali took in making his stance on Vietnam. Cosell is not just a ‘suit’ recording what he sees, he is also a valued supporter and eventual friend of Ali. It is great fun seeing the stiff former establishment lawyer and the radical black sports star bicker and tease each other over the years as their relationship grows.

A few small criticisms of the film are that it is perhaps over long at two and a half hours. Obviously a life as large and rich as Ali’s will be epic, but, do we really need to spend so much time on his relationship with Malcolm X and the FBI’s wire tapping and monitoring of the two men? Does the audience really need to delve into the politics and in fighting that characterised Elijah Muhammad’s notorious Black Muslim group during the 1960s to truly understand Muhammad Ali? Although pivotal to Ali’s development as a person, too much time is devoted to peripheral events and issues during the first hour of the film. There is a danger that these scenes may alienate most filmgoers. The film really shines when Ali is joking with Bundini, being interviewed by Cosell and hanging out with friends and family. These are minor gripes and, as a whole, this is a first-rate film biography of a much beloved and important icon of the twentieth century. You do not need to be a boxing fan to enjoy this trip through ten very important years of Muhammad Ali’s life.