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‘A Thousand Blows’ review: Steven Knight’s boxing drama is anything but subtle

BBG News

In a fictional sense, out of all criminal activities, stealing holds the most charm as it demands a high level of cunning, finesse, and dexterity. It’s important to note that it typically doesn’t involve violence. Thieves perform their tasks unnoticed, making it less about “no one gets hurt” and more about no one ever realizing they were there. Characters like Aladdin, Arsène Lupin, A.J. Raffles, Cary Grant in “To Catch a Thief,” David Niven in “The Pink Panther,” and even Catwoman exemplify this image of stealthy elegance. Overall, it’s a quite appealing portrayal.

As a passionate cinephile, I’ve always found the raw, captivating world of boxing to be both familiar and intriguingly distant at the same time. From the gritty Depression-era brawls on film to modern masterpieces like “Raging Bull” and “La Máquina,” this sport has consistently served as a rich tapestry for storytellers, often weaving narratives of personal growth amidst humble origins, with a touch of the seedier criminal underworld adding layers of complexity.

In “A Thousand Blows,” debuting on Hulu this Friday, Steven Knight, the creator of “Peaky Blinders,” has blended two distinct elements in much the same way as combining a breath mint and a candy mint. This production is a semi-historical melodrama set in Victorian East London, where certain characters are based (and reimagined) on real individuals. The story revolves around bare-knuckle boxing held in secret rooms and intertwines with the infamous Forty Elephants, known as the largest, quickest, and most self-governing gang of female thieves in all of London. Mary Carr (Erin Doherty from “The Crown”) is portrayed as their leader. While it may be an exaggeration to label it as both “Rocky” and “Ocean’s 11,” there is a sense of boxing drama and heist-like elements in the narrative, with a romantic triangle added for additional depth.

With straw hats atop their heads, Hezekiah Moscow (Malachi Kirby, “Small Axe”) and his friend Alec Munroe (Francis Lovehall) have arrived in London from Jamaica, anticipating a job as a lion tamer at the Zoological Gardens for Hezekiah. However, they will soon find out something unexpected. Recently arrived immigrants, they are looking for affordable housing and follow a policeman’s suggestion to go east, where “the sun doesn’t shine, and the birds don’t sing” – a grim area where the primary characters in our tale live close by each other.

At the Green Dolphin Hotel is where Hezekiah and Alec ultimately settle, and it’s here that Hezekiah’s talent for speaking Chinese, passed down from a Chinese grandmother, earns him favor with the owner, Mr. Lao (played by Jason Tobin with quiet grace). Elephants can also be found here. On the other hand, the Blue Coat Boy tavern, another haunt of the Elephants, is run by Sugar Goodson (Stephen Graham, known for “Boardwalk Empire” among many roles), a fierce and imposing figure who rules the local fight scene so completely that challengers line up to be defeated by him. His younger, wiser brother, Treacle (James Nelson-Joyce), is also part of this scene.

In the dimly lit corner of the bar, hidden from prying eyes, unlawful and crowded fights occur – it’s here where our three main characters initially meet. The burly, friendly bartender William “Punch” Lewis, portrayed by Daniel Mays, doubles as the ring announcer. Short on cash, Hezekiah decides to join the fray, facing off against Sugar in a match he would have won if not for being tripped outside the ring. This fact is not lost on Sugar, who becomes determined to defeat Hezekiah honestly. The realization that Mary has interest in him only fuels this determination further. He vows to Hezekiah, “I will beat you and I will not stop until you are defeated… or dead.

“Why would you want me dead?”

“It’s like looking in a mirror; there can’t be two of us.”

In East London, Sugar seems satisfied with governing his own territory, though true contentment may elude him. Alec, his friend and trainer, envisions grand prospects for both of them. Mary, on the other hand, is driven by ambition beyond petty crimes like pickpocketing, shoplifting, or smash-and-grabs. She’s concocting a large-scale, classic, intricate heist that will likely require more than just the Elephants to execute.

In terms of Mary’s potential suitors in this context, Hezekiah is the more favorable choice. He’s remarkably handsome, towering over others like Sugar, dons a suit that would make any 19th century James Bond envious, has impeccable eloquence, and effortlessly navigates through high-society with confidence, even standing up to their condescending and prejudiced comments. (He’s bold, some might say too bold.) On the other hand, Graham initially seems limited to a brutish role in the early episodes, but the writers later give him more room to express himself, and the actor skillfully portrays his character. He’s like a classic movie monster struggling with an inner beast, yearning for a peaceful, ordinary life. His 6-year-old niece aptly observes his sadness.

In a series of remarkable performances, ‘A Thousand Blows’ is anything but subtle. Instead, it boldly and unapologetically expresses its political and social messages, standing in solidarity with women, immigrants, and the underprivileged, advocating for inherent dignity over mere etiquette. The narrative unfolds like a dramatic opera, encompassing themes from heist stories, pulp fiction, and boxing tales that border on brutality. It’s loud, intentionally chaotic, and at times, straightforward – much like the tumultuous setting it portrays might suggest. Yet, its clarity and determination propel the story forward, all the way to hints of what’s to come in the next season.

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2025-02-20 22:31

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