Kevin Hart leads A-list cast in ‘Fight Night,’ a fact-stretching series about an infamous heist

As a retired detective with over three decades of service in Atlanta, I must say that “Fight Night: The Million Dollar Heist” has certainly piqued my interest. It’s always fascinating to see how stories from our city’s past are reimagined for modern audiences.

On October 26, 1970, during Muhammad Ali’s comeback fight in Atlanta against Jerry Quarry, a large gathering of partygoers, including some influential figures in the criminal underworld, were victims of a robbery at a suburban after-party. This event was widely covered in the media at the time and has more recently been explored in a true-crime podcast titled “Fight Night.” Now, this story has been reimagined by Shaye Ogbonna (“The Chi”) into an elaborate miniseries called “Fight Night: The Million Dollar Heist,” premiering on Peacock on Thursday. The series features a star-studded cast playing fictional roles based on the events.

In a different but clear manner, let’s rephrase that for you: Comedian Kevin Hart portrays Gordon Williams, more famously known as the Chicken Man (distinct from the one in Bruce Springsteen’s “Atlantic City”). This nickname comes from his practice of buying chicken sandwiches for attractive women. In reality, he goes by Williams to avoid repetition. He is a self-proclaimed hustler who primarily earns through the numbers, an unofficial lottery system in the inner city. Despite being well-liked and popular within the neighborhood, he has a less than favorable reputation among those he owes money to.

In a scenario where friend Silky Brown, or Atkins Estimond, casually mentions that the New York “Black Godfather” Frank Moten (played by Samuel L. Jackson) is coming to town for a fight, Williams eagerly plans to establish himself as Moten’s representative in Atlanta. This involves convincing Moten and other prominent criminals, such as Cadillac Richie from New Jersey (portrayed by Terrence Howard), to attend a lavish party at his house. It should be noted that the house in question is not his family home with his wife, Faye (Artrece Johnson), and children, but rather the one he shares with his girlfriend, Vivian (Taraji P. Henson). Evil characters become aware of this gathering and devise a scheme to rob the entire event.

Although most of what precedes and follows this event is invention, the mechanics of the robbery, as pictured, pretty much accord with the established facts — masked gunmen escorting arriving guests straight into the basement, where they’re stripped of their valuables and clothing. Estimates of the haul — only estimates, because all but a few guests were loath to talk or press charges — inched up to around a million dollars, a conveniently round, impressive number suitable for a miniseries subtitle. As the homeowner, Williams, though a victim himself, was bannered in the press as the prime suspect, painting a target on his back.

During this time, detective lieutenant J.D. Hudson, Atlanta’s first Black detective, is tasked with shielding the contentious Ali (portrayed by Dexter Darden, slightly smaller than the real boxer but well-suited for the role in every other aspect). Ali finds himself in a precarious position due to his decision against enlistment and being African American in a state where the KKK is prominent. In an unusual, unrealistic, and historically questionable appearance, segregationist governor Lester Maddox will make a cameo on a deserted country road as Hudson escorts Ali to his plane out of town.

The business subplot – while not dominating the storyline, is subtly woven throughout, serving as a recurring motif – revolves around the evolving fate of Atlanta, depicted as a small-town on the brink of transforming into a hub for Black prosperity and influence.

Initially, Hudson, an experienced officer, finds watching over Ali distasteful, as he feels Ali should have served too. His wife, Delores (portrayed by Marsha Stephanie Blake), reminds him of his past service in Missouri. He occasionally refers to Ali as Mr. Clay, and Ali calls Hudson “Officer Mayberry”. This tension serves as a backdrop for exploring race issues in America. However, as they spend more time together, before Ali departs from the series in episode 3 out of 8, a genuine respect develops between them. This dynamic could be the heartwarming plot of a small independent film, or it serves as an introduction to the action-packed storyline that follows.

After Ali’s departure, Hudson is tasked with probing the burglary at Williams’ residence; it’s believed he could potentially gain cooperation from witnesses due to shared ethnicity. However, J.H. Amos, a Black lieutenant who was initially involved in the investigation, is not present in the storyline anymore. Instead, we encounter a hostile, aggressive, racist white officer named Ben VanderMey, whom Hudson is resolved to apprehend.

Initially, the nostalgic credits, dual-screen scenes, and upbeat ’70s R&B tunes create a carefree impression. However, beneath this facade lies a grim narrative filled with numerous guns, brandished menacingly, pointed at heads, frequently discharged. The characters in this story are predominantly criminals, ranging from the comically flawed Williams to the cunningly sophisticated Moten to the brutish thugs – although an effort is made to distinguish between the more and less reprehensible robbers, occasionally provoking sympathy.

Although “Fight Night” incorporates visual elements reminiscent of films like “Ocean’s 11” and “The Thomas Crown Affair” from the late ’60s/early ’70s, it is not one of those movies. Instead, it dabbles in multiple genres – blaxploitation, police procedural, social drama, buddy-cop films – each of which works well individually but struggles to come together seamlessly. As the series progresses towards its end, the plot increasingly strays from reality, favoring genre thrills over historical accuracy and believability, eventually reaching a point where it veers into the unrealistic and absurd.

Any collaboration featuring Cheadle, Jackson, Henson, Howard, and Hart is sure to be intriguing, regardless of its overall outcome. It offers an opportunity for all involved to deliver top-notch performances; in fact, it appears that certain scenes are crafted specifically to showcase their talents, with dramatic soliloquies that allow them to shine. A production without such opportunities would feel restrictive, much like confining these talented individuals to a basement.

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2024-09-07 14:20