"The Fighter" refers to Micky's attempt to become a renowned sports figure; to Dick's struggle with addiction and the inevitable consequences thereof; to Alice (Leo) ostensibly fighting for Micky's interests while always championing the has-been older brother. The father, George (Jack McGee), observes much of these family dynamics with a measure of restraint that is rather impressive. A resplendent Amy Adams costars as Charlene, a bar girl who hooks up with Micky and serves as a source of tension between him and his family. All in all, "The Fighter" makes for a brilliantly acted character drama. (Note: I think Leo's Oscar is more for her sensitive work as another desperate mother in "Frozen River" than for this film.)
The film is a good example of why the classical Hollywood narrative works, especially in sports dramas. When you go the formula route and you do it well, the result can be emotionally rewarding without being mind numbing. If a film is too cerebral, it can be alienating. I've written before on how "Raging Bull" didn't live up to its three-decade old hype, and Michael Mann's emotionally sterile "Ali" was a misfire, with Will Smith trying his best to channel the famous boxer in a film that couldn't bear its own weight and felt like it'd never end. And who remembers "Cinderella Man"? With "The Fighter", Russell's approach is restrained and never sentimental; he refrains from cheap musical cues and his conservative choice of camerawork and editing are appropriately far removed from the theatrics of "Three Kings" (1999).
For a while I couldn't figure out why I responded so positively to the film. I think it comes down, for a change, to the basics: "The Fighter" is refreshingly straightforward solid entertainment and a gritty family drama. It has no pretenses about what it is. Admittedly, the film teeters oddly close to ridiculing some of its working class subjects at one stage, making the Ward sisters come across as bizarre caricatures reminiscent Maggie's redneck family in the tedious "Million Dollar Baby" (Eastwood 2004), a strange occurrence since the film's success lies in its well-rounded characters.
I've seen the film described as "uplifting" and "inspiring", and although a measure of triumph is to be expected, the film is so bleak and the characters so convincingly grounded and tangible that I cannot bring myself to reduce the film to those labels. Still, in the words of Roger Ebert, no good film is depressing, and "The Fighter" is a very, very good film, one I am certain to revisit.
