# Boxer, The (1997)

### reviewed by
James Berardinelli

    THE BOXER

    A Film Review by James Berardinelli

    RATING: *** OUT OF ****

    Ireland, 1997
    U.S. Release Date: 12/31/97 (limited); 1/9/98 (wider)
    Running Length: 1:48
    MPAA Classification: R (Violence, profanity)
    Theatrical Aspect Ratio: 1.85:1

Cast: Daniel Day-Lewis, Emily Watson, Brian Cox, Ken Stott, Gerard McSorley, Ciaran Fitzgerald Director: Jim Sheridan Producer: Arthur Lappin Screenplay: Jim Sheridan & Terry George Cinematography: Chris Menges Music: Gavin Friday, Maurice Seezer U.S. Distributor: Universal Pictures

Films about Ireland's troubles come in all different sizes and shapes -- everything from exploitative thrillers (THE DEVIL'S OWN) to keenly-realized explorations of human brutality (IN THE NAME OF THE FATHER). In almost every case, the movie has a clear political viewpoint, because in stories where the issues are so divisive, it's virtually impossible to pretend objectivity or to take the middle ground. Invariably, a certain portion of these motion pictures come down on the side of the IRA, and are viciously criticized for exposing such an unpopular point-of-view (no matter how dramatically potent the narrative may be). Many will probably argue against THE BOXER for similar reasons, although, to anyone who cares to look beneath the surface details, it will become clear that this is not a political movie at heart, but an examination of far more primal forces.

That's not to say that politics don't play a part in the story. In fact, they are a crucial element. But the message is that, in a struggle where violence is the weapon of choice for both sides, there are no winners. Most of the main characters in THE BOXER are pro- Republican, but this is no IRA recruiting film. The moderates, who are weary of the violence, are the men and women we are meant to sympathize with. In contrast, the hard-liners are clearly the villains. Their case, as stated by a spokesperson, sounds as barbaric and outdated to other members of the IRA as it does to us.

Although it takes place in Belfast, THE BOXER's themes are universal. This is a meditation on hatred and intolerance, and upon the "kill or be killed" mentality that fuels many conflicts. Change the names and places, and this could be a story about similar wars in Bosnia or the Middle East. Director Jim Sheridan (IN THE NAME OF THE FATHER) refuses to demonize or lionize the IRA, exposing the deep fissures within the organization that crack open in the wake of a cease-fire. To one group, peace means an end to the brutal cycle of violence. To others, inured to bloodshed and all-too-willing to continue it, peace means selling out to the English and betraying the memories of hundreds of dead IRA "soldiers."

At the center of all the turmoil is Danny Flynn (Daniel Day-Lewis), a boxer by trade and a Catholic native of Belfast by birth. After serving fourteen years in prison for terrorist activities, Danny has just been released because of good behavior. At age 18, he was a staunch soldier in the IRA, and, when he was captured, he refused to name his co-conspirators. Now, free again at age 32, he wants nothing more to do with his former associates. In his view, they have stolen the best years of his life. He wants to rebuild the community, and, with the help of his old trainer, Ike Weir (Ken Stott), he intends to re-open the Holy Family Boxing Club -- a non-sectarian training center where Catholics and Protestants can practice together.

The IRA in Belfast is split. The main branch, headed by Joe Hamill (Brian Cox), is negotiating with the British government to establish a peace treaty. A group of mavericks, led by an embittered man (Gerard McSorley) whose only child perished as a result of a British military action, threaten to break the cease-fire. Danny, a high profile figure, is caught in the middle. And he's not the only one. His one-time girlfriend, Maggie (Emily Watson), whose husband is in prison, becomes another central figure in the power struggle. It's only a matter of time before the bubbling tension and hatred boil over.

THE BOXER's story is presented with a sense of overwhelming pathos and sadness, and it's not hard to empathize with the characters' despair. When Danny says, "I'm not a killer [but] this place makes me want to kill," we understand the depth of his distress. And, when members of the younger generation are drawn into the struggle, Danny realizes that something -- anything -- must be done to change the situation.

The film is not without weaknesses, chief of which is an erratic pace. The beginning is slow and murky, and the end seems rushed and incomplete. THE BOXER doesn't offer more than a token sense of closure, but that's in keeping with the current situation in Ireland, which is anything but stable. The symbolism -- especially the relationship between boxing and politics -- is at times a little too obvious. The same is true of the parallels between the physical and emotional barriers within Belfast.

The best scenes in THE BOXER are not the boxing bouts -- the ROCKY movies accomplished these just as well, if not better. Nor are they the sequences that depict rioting in the streets -- these sights are familiar to those who have seen other movies about "The Troubles." Instead, the most remarkable scenes in THE BOXER are those that feature Danny and Maggie engaged in quiet conversation. Both are former prisoners straining to taste freedom -- his bars were physical; hers were formed out of society's conventions and expectations. The two actors, Daniel Day-Lewis and Emily Watson (BREAKING THE WAVES), give such forceful performances and interact so well that it's impossible not to be mesmerized by their interaction. And, although the two share plenty of moments together, I wish Sheridan had devoted even more screen time to their love story. It is THE BOXER's anchor.

THE BOXER is the fourth film in twelve months to deal with the situation in Northern Ireland (it follows in the wake of SOME MOTHER'S SON, which was co-written by Sheridan and Terry George, THE DEVIL'S OWN, and NOTHING PERSONAL). Although not as gripping as SOME MOTHER'S SON, THE BOXER is strong enough to overcome its occasional missteps and leave a lasting impression. This may be a work of fiction, but its themes and issues are as real and immediate as those addressed by any contemporary documentary.

    Copyright 1997 James Berardinelli

    - James Berardinelli
    e-mail: berardin@mail.cybernex.net

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