Giant review – A fleet-footed boxing biopic

Featherweight world champion Prince Naseem will forever go down in history as an unorthodox boxer. It wasn’t just his fighting style, where he eschewed defensiveness in favour of dodging and dancing around opponents with his hands lowered, before delivering wild but powerful punches. Naseem was one of a new generation of fighters to emerge against the backdrop of 1990s Britain and Lad Culture. He was an unapologetic showman in the ring and out, feeding off the anger his obnoxious behaviour provoked. So it makes sense that Giant, his unsanctioned movie biography, is similarly energetic and unconventional.

That unconventionality can be found at a foundational level, because this real-life sports story is actually a two-protagonist tale. Instead of focusing solely on how British-Yemeni boxer Naseem “Naz” Hamed (played in adulthood by Amir El-Masry) overcame obstacles – like rampant Islamophobia in Northern England during the 1980s and 90s – Giant sees the champion share the spotlight with his trainer Brendan Ingle (Pierce Brosnan).

Ingle was a much respected figure in Sheffield, where the Irishman encouraged boys and young men to channel their frustrations in the boxing ring instead of on the streets. Utilising unusual techniques, he trained amateurs and professionals side by side in his humble gym. However, Ingle had a chip on his shoulder, with his own boxing career a dud, and several of his mentored contenders dumping him as soon as they achieved professional success.

Ingle recognises Naseem is a boxing prodigy early on, and sets out to prepare him for glory, including encouraging a cockiness which later pleases promoter Frank Warren (Toby Stephens). However, as Naseem explodes on the professional scene at 18, and gets to take his shot at major titles in short succession, resentment and distrust grows between coach and fighter, fracturing a tender father-son relationship – and providing both El-Masry and Brosnan with a stage to flex their dramatic muscle, but in an appreciably understated way.

Naseem is worn down by Ingle’s “us” narrative, as the trainer forces himself into every publicity opportunity, while harping on about the financial reward he deserves for his decade-and-a-half “investment” in Naz. Ingle, meanwhile, is paranoid about being left behind yet again, resulting in more controlling and critical behaviour, which only pushes Naseem further into ill-discipline, and further away from his mentor.

This is probably making Giant sound like a gloomy slog – closer to something like Dwayne Johnson’s The Smashing Machine – but that isn’t the case at all. Just as Prince Naseem was known for his fancy footwork in the ring, Giant filmmaker Rowan Athale demonstrates flair in several departments. The film features an authentic period and locale look, paired with an invigorating soundtrack of rock and pop hits from the time. As for the fight scenes, they’re exciting but coherent, perhaps benefiting from the involvement of Balboa Productions, Sylvester Stallone’s production company. Meanwhile, in the film’s quieter character-driven moments, there’s Katherine Dow Blyton as Ingle’s wife, Alma. Alma receives the lion’s share of appreciative laughter from the audience as she’s always ready to talk sense when male ego gets in the way.

Giant manages to be crowd pleasing at the same time it isn’t afraid to jab at raw spots. The result is a rarity: a sports biography equal parts inspiring and poignant. In fact, Giant’s greatest accomplishment is a third act scene that, without spoiling anything, serves as the ultimate emotional sucker punch. This is a movie that takes the unusual step to celebrate men who achieved greatness, but also who never went beyond it because of simple everyday human failings. That gives Giant a resonant sting absent from most entries in its genre.

Giant is in South African cinemas from 13 March.