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Review: ‘Day of the Fight’ connects with an old combo, a down-and-out boxer seeking redemption

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As someone who’s spent countless hours in the ring of life, I can appreciate the grit and determination that “Day of the Fight” portrays. The movie, much like a worn-out boxer, is lumbering but well-intentioned, reminiscent of those classic tales of scrappy underdogs.

In the realm of boxing films, the classic tale of romance drenched in darkness is revived and softened anew in the New York-based drama “Day of the Fight,” marking actor Jack Huston’s foray into writing and directing. Though at times cumbersome, it’s a tribute to stories about endearing, tough fighters who maintain a sparkle in their battered eyes. It might surprise you how much that raw, underdog spirit can propel a movie, even one as traditionally crafted as this one.

Michael Pitt is also cast in this production, which suggests that the revival of his career is underway. Given his past off-screen struggles and absence from the industry that once recognized him as a rising star, Huston choosing Pitt for the role of struggling middleweight legend “Irish” Mike Flannigan over playing it himself seems like a kind gesture. Pitt, whose once casual smolder has evolved into a weary, battle-scarred expression, approaches the role with deep appreciation. He convincingly portrays the character with a sense of gratitude for being given another chance.

In this scenario, Huston portrays Pitt’s character, Mike, as if he’s an icon of last resort. He wakes up in his shabby yet aesthetically pleasing apartment, with the cinematography by Peter Simonite enhancing the moody ambiance. As day breaks, Mike engages in some late-night training and takes care of his cat. The soundtrack for this sequence features “Crucify Your Mind” by an unknown artist, Rodriguez, and later another forgotten artist from the ’60s, folk singer Jackson Frank.

Once a world champion, now a disgraced former convict following a fatal drunk-driving accident, Mike finds himself on the brink of a potential comeback: an undercard fight scheduled at Madison Square Garden that evening, which could rejuvenate his career. However, his decision to pawn a family heirloom to bet everything he owns on his slim chances of winning appears risky. This action seems questionable, perhaps connected to the fleeting memories of a doctor’s concern and time away from his daughter.

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He starts walking around the city, reconnecting with loved ones on what smacks of a forgiveness tour. At the shipyard with his uncle (Steve Buscemi), Mike talks about his late mom — also the subject of flashbacks and unresolved pain. At the gym, his crusty manager (Ron Perlman) tries to get him to focus on the bout, but from there it’s to the confessional with a friend-turned-priest (John Magaro), then to the apartment of his ex-wife (Nicolette Robinson), where she softens her bitterness toward him. Last up before showtime in the ring, he heads to an old-age home and a teary one-way plea for answers from an abusive father (Joe Pesci) who can’t speak anymore.

In a different phrasing: The struggle is inevitable, providing a sense of tension despite its predictable end. Knowing the ending doesn’t diminish the emotional impact; however, “Day of the Fight,” with its somber black-and-white cinematography and sorrowful soundtrack (including a sad tune from one of Pesci’s albums), focuses too much on the predestined fate of its underdog character. This overemphasis on the character’s inevitable outcome hinders the utilization of its urban setting and top-tier cast, many of whom appear more like cameos than fully-developed characters. Pitt delivers a commendable performance, given the imbalance between his character and the others, but in a truly compelling drama, no lead actor should have to shoulder such an uneven burden.

In “Day of the Fight,” you find a sense of melancholy due to its sincerity that remains undeveloped into something more intense. Huston’s intention is clear, and the story he crafts for Mike to escape from isn’t unreasonable for a boxing melodrama. However, this subdued tragedy lacks the nuance to evolve into a rich narrative about choices, remorse, and making the most of our remaining opportunities.

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2024-12-06 18:01

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