This film features a talented ensemble, depicting the true story of coach Brendan Ingle, who mentored a cheeky Yorkshire teenager from Yemeni immigrant parents. Known as Naseem Hamed, the fighter was coached to stand up to racist bullies and molded into a celebrity titleholder in the late 90s. The trainer nurtured his showboating arrogance and powerful punches, but after becoming rich, the boxer turned against his mentor, cutting him out and making him a blend of Falstaff and Danny Rose.
Brosnan plays the trainer; El-Masry takes on the part of Hamed, and Stephens appears as the assertive London promoter Frank Warren, who recognized the goldmine that the coach had discovered.
Yet, the film frankly misses the fighter’s fancy footwork: the fight scenes flow well, but the all-important story between them is repeatedly dull and one-note. It lacks subtlety or light and shade in the depiction of the protagonist himself, and the actor, an otherwise outstanding performer, isn’t given the chance to show any depth or much of what might make his role truly engaging – although he’s clearly been working out and looks very plausible in the boxing arena.
The story is repeatedly burdened by utilitarian, expositional lines that inform you precisely what is happening and what we are meant to feel (“Your journey began your career at age seven …”). It is the kind of dialogue that streaming-TV executives call “double-screen”, making sure you know what’s going on while you’re viewing the movie but also checking your phone. And, the score is overbearing, at times nearly overwhelming, particularly in the scene where Hamed gets overexcited visiting the promoter in his luxurious residence.
While the leads do their very best, their relationship doesn’t quite comes to life, and the major boxing moments are frequently anticlimactically truncated. The most important moment is certainly when, goaded beyond endurance in the gym one day by the boxer as a delusional “old man”, the trainer actually offers to step into the ring and fight him. All present in the gym is shocked and uncomfortable. In what way is this insanely unwise standoff going to unfold? What will be the outcome? Certainly the Prince is going to kill him? Alternatively will he emotionally hold back? It’s not clear.
This isn’t to imply that there are no some good moments. The actor elicits humor when his character informs a reporter what he’s instructing the kids from his neighborhood: to reject bias and when you encounter a paedophile, “Hit them in the groin”. Amusing too when the boxer fidgets at the silly stunts the coach makes him do in the beginning: acting like the “monster from the East”.
Regarding the rift, the film depicts this as being worsened by a revealing book that the trainer is supposed to have authored (a plot point clearly adapted from prior material), and there is an interestingly imagined last discussion – however the emotional tribute that Hamed is supposed to have given to Ingle after his passing is only mentioned in the closing credits, and not dramatised on film. Some engaging content in this film, but the punches fail to connect.
The film was shown at the London film festival and is available in UK and Irish theaters from January 9.
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