DAY OF THE FIGHT
Starring: Michael Pitt, Joe Pesci, Ron Perlman, Steve Buscemi and Nicolette Robinson
Directed by: Jack Huston
Written by: Jack Huston
Rated: R
Running Time: 1hr 48min
NOMINEE – Venice Film Festival – Audience Award
DAY OF THE FIGHT is the kind of movie whose distribution plan frustrates me. Why would any company agree to distribute a film that has an impressive 85% fresh rating on Rotten Tomatoes and features interesting performances by well-known actors like Steve Buscemi, Ron Perlman, and Joe Pesci, then do absolutely nothing with it? Since I first watched the movie, I have recommended DAY OF THE FIGHT to over 20 people, all of whom responded in the same manner by telling me that they had never heard of it. The distribution company was Falling Forward Films and not only did they fail by choosing to release this incredible film in only two theaters across the country on its opening weekend, while never allowing it to reach more than eight, but they also buried it so badly, that very few people even know it exists. When it comes right down to it, I had only heard about it by chance and will admit that I went in knowing only that Pesci, an actor we rarely see in movies anymore, was in it. I took a chance and it paid off. First-time filmmaker Jack Huston (grandson of the amazing filmmaker John Huston and nephew of actress Anjelica Huston) has delivered an emotionally honest, character-driven piece with a powerful script and first-rate direction. It effectively follows a man through an important day in his life, as he struggles with personal demons and searches for forgiveness not only from those around him but also within himself.
Loosely inspired by legendary filmmaker Stanley Kubrick’s short documentary of the same name, the film centers around “Irish” Mike Flannigan. He’s a man who lives alone, with only his cat to keep him company. He has recently been released from prison, where he served time for something I won’t reveal here. An ex-boxer and former champion, the story tracks Flannigan on the day of his comeback fight. Throughout the day, he navigates the city, reconnecting with people from his past and attempting to reconcile with those most important to him. It’s a simple plot structure viewers have seen many times before, yet the film’s true power lies in its emotional depth, where, beneath the surface, Flannigan’s inner journey transforms the story into something intimate, reflective, and deeply human.
Although the film centers on a boxer and the narrative eventually leads up to the expected final climactic boxing match, DAY OF THE FIGHT should not be mistaken for a boxing movie. As a matter of fact, the only real boxing match in the film doesn’t appear until around 1 hour and 20 minutes in and then it only lasts roughly 12 minutes. The sport itself serves merely as a backdrop for a deeper narrative and the word “fight” in the title could just as well be referring to the inner battle that occurs within the mind of Flannigan himself. Huston is more interested in themes of self-discovery and forgiveness, as Flannigan grapples with the pain caused by a life-changing event, while also seeking to repair his relationship with his ex-wife and daughter. As a writer, Huston doesn’t seem interested in the sport at all, but only in the different relationships that are discovered throughout the soul-searching journey of the film’s lead. This is a movie about people and the real inner struggles that a wrong turn in life can affect.
The film, shot in a striking black-and-white by cinematographer Peter Simonite, evokes the gritty, independent vibe of 16mm film. Houston complements this style with an authentic, lived-in set design by Pete Zumba and some raw, unkempt locations across New York and New Jersey, which enhance the realistic atmosphere that Flanagan must navigate throughout the day.
Michael Pitt delivers a compelling portrayal as Flannigan, showcasing genuine vulnerability. He depicts him as quiet and even-tempered, with a lot of feelings bottled up deep down inside. Flannigan is a broken man with a good heart shaped by a difficult past. Growing up, he tragically lost his mother at an early age and had to survive the wrath of an abusive father whom he still has an unconditional love for. While visiting his father, he tells him, “You were always my hero. Always. Even when you weren’t.” A past mistake haunts Flannigan, and he’s desperate to get out from under its shadow. He tells a lifelong friend who is now a priest, “I’m good. I’m not a monster. You know I care about things. I want people to know that. I want them to take me seriously again. I want them to see me for who I am now, not for who I was.” Then, when he finally does bare his soul to his ex-wife, then father, Pitt delivers a couple of heartfelt monologues with genuine emotion, creating two of the film’s most honest moments.
Alongside Pitt, the film boasts a small cast of great character actors, including both Steve Buscemi and Ron Perlman. Though they are only in the film for a minimum of screen time, they are an important part of Flannigan’s story and help to bring a true understanding of Flannigan’s past as the viewer sees it through their eyes. Nicolette Robinson stands out as Flannigan’s ex-wife Jessica, a woman who feels she can no longer have him in her life, even when it begins to become clear that she still has feelings for him. Robinson delivers an engaging performance, convincingly portraying these contrasting emotions, sometimes simultaneously, all while having very little screen time to do so.
Then there’s Joe Pesci. One of cinema’s greatest character actors – here taking on a very different kind of role. Pesci has always been an actor who’s made his performances memorable because of his talent for delivering dialogue with near perfection. The viewer only needs to watch him in movies like LETHAL WEAPON 2 and MY COUSIN VINNY to understand this. His “So you think I’m funny scene” in GOODFELLAS is one of the greatest moments in cinema history. Huston challenges him, though, by giving him a part with almost no dialogue. He plays Flannigan’s abusive father, Tony, whose a man in the late stages of dementia. He can’t move and is stuck in a health care facility where he sits in a chair, unable to speak. This is a performance that should have garnered Pesci some award nominations at the end of the year. Even though he just sits there staring forward as Flannigan does all the talking, the viewer can feel every emotion that Tony is feeling. It’s in the way Pesci gives the character a slight shaking of his head and right hand, while effectively conveying every emotion through his eyes. Pesci is so good here that he takes a simple throwaway part and makes it something special, giving the viewer a real sense of everything the character is going through as a sense of regret becomes increasingly present. Huston adds to the performance by writing the character as a man who dreamed of becoming a successful singer but failed, making him very bitter. Then he adds a moment where Flannigan places one of his father’s old records on the turntable and it turns out to be an old recording from Pesci’s actual days as a singer, basically giving Tony/Pesci a voice after all.
During its theatrical run, DAY OF THE FIGHT made less than $80,000 worldwide. Not because it was bad and deserved to be ignored, but because the distribution company failed to do its job properly and give the audience an opportunity to learn about it. Modern-day distributors seem to have forgotten that a smaller independent film can appeal to an audience in the same way that a big-budget studio movie can. Remember in the 70s, when ROCKY was made on a low budget and became a cultural phenomenon? Or how about CLERKS, PARANORMAL ACTIVITY, SLING BLADE or NAPOLEON DYNAMITE? They all found their audiences because, at one point, smaller indie films were recognized as having a place in the moviegoer’s hearts. Now, DAY OF THE FIGHT comes along and is completely buried, more like hidden, and I personally don’t understand why.
Watch DAY OF THE FIGHT
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