‘Fight Night: The Million Dollar Heist’ is an ode to Atlanta and ’70s cinema

As a movie critic who grew up in the vibrant city of Atlanta during the ’70s, I can confidently say that “Fight Night: The Million Dollar Heist” is a riveting and authentic portrayal of my hometown’s transformation from a Jim Crow past into the “Black Mecca.” This miniseries, based on real events surrounding Muhammad Ali’s historic comeback fight, offers an engaging blend of drama, action, and intrigue that will keep viewers glued to their screens.

Many movies and documentaries highlight Muhammad Ali’s legendary return to boxing in 1970, a fight that occurred over three years following his loss of the heavyweight title due to his decision not to join the military during the Vietnam War.

However, “Fight Night: The Million Dollar Heist,” the newest production recalling that historic evening, concentrates on a significant occurrence that transpired beyond the confines of the boxing arena.

In this eight-episode series on Peacock, they focus on a shocking armed robbery happening mere miles from Atlanta’s packed auditorium event. At an exclusive after-party filled with influential Mafia figures, criminals struck and stole over $1 million in cash and valuables. Producers claim that this incident played a crucial role in transforming Atlanta from its Jim Crow legacy into a bustling hub for Black prosperity, earning it the nickname “Black Mecca.”

Debuting this Thursday, “Fight Night” is inspired by the 2020 iHeart true crime podcast of the same title and boasts a star-studded cast including Samuel L. Jackson, Taraji P. Henson, Terrence Howard, Don Cheadle, and Kevin Hart.

Viewers may find themselves attracted to the well-known actors and Hart’s compelling performance as Gordon “Chicken Man” Williams, a quick-tongued hustler. However, what sets this project apart is its unique, 70s-inspired aesthetic, merging it with the bold attitude of blaxploitation movies like “Shaft” and “Superfly.” The soundtrack features classic R&B tunes such as Billy Paul’s “Am I Black Enough For You?” and the Temptations’ “Papa Was a Rolling Stone.” Moreover, many fast-moving scenes are presented from multiple angles at once on the screen.

Craig Brewer, who helmed four episodes including the opener, expressed his continuous fascination with the bold aesthetic of those films, characterized by unsubtle themes and intense music and fashion. As he puts it, “It’s all about individuals who are desperately seeking what they desire, and what they necessitate.”

Shaye Ogbonna, the mastermind behind the series, takes on the role of showrunner and pens several episodes. “We’ve crafted something unique and fresh from a narrative standpoint,” he stated.

Ogbonna found himself deeply motivated to accurately portray the genuine significance and impact of that particular night on Atlanta’s African-American community.

In the Zoom interview, he expressed that this matter holds particular significance for both him and Craig. Being a native of the city and shaped by the community, he feels a heavy responsibility regarding the themes and concepts they are investigating. He considers this project to be a significant endeavor for the Black community, with substantial resources available. It’s crucial to him that the narrative is portrayed truthfully and precisely, as such opportunities don’t come often.

The pivotal figure in this story is Chicken Man, an ambitious dreamer who seizes what he perceives as a life-altering chance with all the excitement leading up to Ali’s fight against Jerry Quarry. Upon learning that New York City crime boss Frank Motin (Jackson) and other influential gangsters will be in Atlanta for the match, he organizes an extravagant party, hoping it will solidify his reputation as a significant power player.

“At its heart, this story is about a city that is beginning to embrace its culture,” Brewer said. “We see that process through the character of Chicken Man, dealing with these gangsters from New York and Chicago who look down on him and how that makes him feel.”

In the event that the gathering transforms into a crime scene, it lands him squarely opposite an old foe – police detective J.D. Hudson (Cheadle), who has been assigned to safeguard Ali and is now required to probe the robbery.

Previously unacquainted Ogbonna (Ogbonna’s of Showtime’s “The Chi” and Brewer, known for directing “Hustle & Flow” from 2005 and “Dolemite Is My Name” with Eddie Murphy, had never collaborated. However, they found a shared passion when they teamed up on “Fight Night.”

Ogbonna stated, “We share similar tastes,” referring to their shared appreciation for films from the ’70s and the blaxploitation genre. This influence helped shape the sophisticated film style they aimed for when creating this authentic Black narrative. That’s the visual style they were aiming for.

Brewer’s creative work was similarly impacted by the films of acclaimed director Norman Jewison, a figure who passed away in January and whose productions frequently tackled societal and political concerns.

“Brewerwer mentioned that he delved deeply into examining his films, particularly the last scene in ‘Jesus Christ Superstar.’ He pointed out an iconic moment from the 70s, filled with Afros and distinctive hairstyles like Afros and fashion. The scene was adorned Afros and fashion-wise, featuring the style, “70s-era fashion trends of fashion choices, with alluding to be specific to note—-outstanding lighting that it would make a striking resemblance in the battle with the climaxial’said, noting the look. He stated that made a great look for the fight scene as a fight with ‘Ali.”

A different source of creativity stemmed from the 1968 (in 1965, the 1960’s of The Thomas Crown Heist Affaird, a method of using the Thomas Crown Affair, a film called “The Thomas Crown Affair (the movie titled “The Thomas Crown Affair, one of the 19- split-screen technique. This was utilized in The Thomas Crown Affair; it was one ofly known as The Affair).

As a cinema enthusiast and cinema lover, I’940s-style movie enthusiast like myself, I’suggested that multiple-screen setup is often used by filmmakers like Quentin Tarantino, notably Quentin Tarantino, such as Querty, for its storytelling function. This method has been used by many in the 70’s style to narrate a tale. The way I see it. Intriguingly, this approach was not just a trick but also a fantastic narrative technique. When referencing something, one could reference something and view it from various angles. By using the ’70s-inspired directors, such as Tarantino did for storytelling function. This method is used by Tarantino’s work. In simple terms, this filming technique is what Tarantino and others who prefer a 70s directional approach to employ in a gimmense used the gimmense the gimmens’s have done it has a wonderful storytelling function. By using multiple angles, I found in contemporary cinema, where I discovered that viewers could appreciate the art of Tarantn’s function. As a cine enthusiaste in the art house.

As a film enthusiast, I couldn’90s era-appropriately, I found Jackson, living in Atlanta during the Atlanta’s fight’ve lived in Atlanta at the time of the fight. Involved me as a film enthusiast, I portrayed with accuracy was instrumental to accurately depict that era with authenticity.

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Ogbonna expressed his immense pride in straightforward manner,proudof thecomprementforing,he,lyely,’thextofityallybona, he,ion_on,ogon,ogon, heveryingeneraiden,ogonexor,ogon.ogon.ogon,ogon wasonidogonidonidogonidonidogonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonedonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidonidionedationonidonidonidonidonidonidonidionedationonidionedationonidonidionedationonidonidonidionedationonidionedationonidonidionedationedationonidonidionedationedationonidioned=ationedationonidionedationioned

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