Whilst Rocky is most revered in boxing cinema, at its core that movie is loved more as a drama than it is an action-sports flick. The passive, nuanced moments of Rocky reveal a deeper story and one which undoubtedly contends a boxer's life is infinitely more about what is happening to him outside of the ring than within those short 12 rounds, inside it.
Nowhere is this truer than in 1979's The Champ, a close second to Rocky in the boxing-drama category made possible by an exhibit of impeccable casting.
Jon Voight and Ricky Schroder are perfect in their respective roles of Billy Flynn and his young son, TJ. The contrast between Billy - the brash and reckless, rough-around-the-edge yet altruistic, kind-at-heart father and TJ - his, innocent, dedicated and beautifully animated son, brings more life to the story and renders both on and off-screen moments between the two characters all the more heart-rendering. In spite of the fact that the ending of the film is notably its most memorable moment, this is not where the meat of the story lies. There is, for example, some incredible acting and direction in the preceding acts which deliver some truly convincing encounters between the lead characters and which, crucially, give all the more credence to the finale. In particular, a heartedly conversation which takes place in the second act between Billy and Annie (Faye Dunaway) is especially powerful. Put simply, all leading roles give electric performances.
It can't be overstated that where the film truly shines, though, is in then child actor Ricky Schroder, who not only gives one of the most compelling child acting performances of all time, but is without question the heart and soul of the picture. This is demonstrably true in a number of highly-engaging set pieces which showcase the enchanting father-son kinship between Billy and TJ. But nowhere is this more the case than in the climatic scene, wherein Schroder is so pivotal to the experience that the weight of the event is almost forgettable in the absence of his riveting performance. This is truly one of the all time great, award-worthy child-acting achievements.
The Champ is a nice-looking picture. Cinematography feels natural and pleasant. There is also some notable camera work including a fair few impressive wide and steady long-distance shots which bring the film a fair visual presence and personality of its own. The film is skilfully edited, with never a lifeless or tedious moment. We are instead captivated by a number of exceptionally moving, adequately flowing and dramatic sequences.
Music is nothing iconic but adequate and serves more as a quietly touching thematic background for the important scenes. Nonetheless, nothing too over the top is ever needed, owing to such strong acting displays.
Judging by the IMDb rating alone, this piece of cinema feels like a lost gem - why The Champ is not remembered as one of, if not the, greatest tearjerkers and best overlooked dramas of cinema history is a terrible shame and discredits a magnificent work.
Case in point - as of this review there is still no Blu-ray release - what a great misfortune!
Nowhere is this truer than in 1979's The Champ, a close second to Rocky in the boxing-drama category made possible by an exhibit of impeccable casting.
Jon Voight and Ricky Schroder are perfect in their respective roles of Billy Flynn and his young son, TJ. The contrast between Billy - the brash and reckless, rough-around-the-edge yet altruistic, kind-at-heart father and TJ - his, innocent, dedicated and beautifully animated son, brings more life to the story and renders both on and off-screen moments between the two characters all the more heart-rendering. In spite of the fact that the ending of the film is notably its most memorable moment, this is not where the meat of the story lies. There is, for example, some incredible acting and direction in the preceding acts which deliver some truly convincing encounters between the lead characters and which, crucially, give all the more credence to the finale. In particular, a heartedly conversation which takes place in the second act between Billy and Annie (Faye Dunaway) is especially powerful. Put simply, all leading roles give electric performances.
It can't be overstated that where the film truly shines, though, is in then child actor Ricky Schroder, who not only gives one of the most compelling child acting performances of all time, but is without question the heart and soul of the picture. This is demonstrably true in a number of highly-engaging set pieces which showcase the enchanting father-son kinship between Billy and TJ. But nowhere is this more the case than in the climatic scene, wherein Schroder is so pivotal to the experience that the weight of the event is almost forgettable in the absence of his riveting performance. This is truly one of the all time great, award-worthy child-acting achievements.
The Champ is a nice-looking picture. Cinematography feels natural and pleasant. There is also some notable camera work including a fair few impressive wide and steady long-distance shots which bring the film a fair visual presence and personality of its own. The film is skilfully edited, with never a lifeless or tedious moment. We are instead captivated by a number of exceptionally moving, adequately flowing and dramatic sequences.
Music is nothing iconic but adequate and serves more as a quietly touching thematic background for the important scenes. Nonetheless, nothing too over the top is ever needed, owing to such strong acting displays.
Judging by the IMDb rating alone, this piece of cinema feels like a lost gem - why The Champ is not remembered as one of, if not the, greatest tearjerkers and best overlooked dramas of cinema history is a terrible shame and discredits a magnificent work.
Case in point - as of this review there is still no Blu-ray release - what a great misfortune!