In the last few years, Gyllenhaal has emerged as one of our best working actors. From the obsessive, twitchy detective Loki in “Prisoners,” to the skinny, bug-eyed creep Lou Bloom in last year’s “Nightcrawler,” Gyllenhaal has incredible range.
In “Southpaw” he transforms once again with his raw, explosive portrayal of fictional boxer Billy Hope. It’s unlike any performance he’s ever given, and he puts forth every ounce of effort. He exhibits so much intense power and emotion that you can’t take your eyes off him.
Billy takes a lot of hits in the movie (his fighting philosophy is, the more I get hit, the angrier I am and the harder I hit), and his reactions to each one look painfully authentic. Watching Billy stumble around post-fight, you feel battered and sore as well.
Hope is a mumbly, street-smart boxer from rough circumstances. He’s impulsive and short-tempered but also gentle and compassionate. Watching him interact with his wife, Maureen (Rachael McAdams), and daughter Leila (Oona Lawrence), you see nothing but affection. In the redemption portion of the movie, when Billy loses Leila to Child Protective Services, he displays genuine sensitivity and heartache. Gyllenhaal brings depth, dimension and immense physical presence (he actually bulked up in preparation for the part) to a role that could easily be one-note.
Speaking of McAdams, the actress is also terrific, and her role is really the only real refreshing aspect of Kurt Sutter’s predictable script. Instead of being passive or a wet-blanket, side-ring wife, she’s Billy’s smart, assertive confidante. She makes all of the decisions and keeps Billy stable and in-line. McAdams only has about five to 10 minutes of screen time, but her presence can be felt in Billy’s anguish and hunger for redemption.
The section featuring Billy’s self-destructive behavior is nightmarish and grotesque. While the first couple scenes are effective it does begin to feel melodramatic and forced, and there are only so many sequences of pure anguish one can continually endure in a single sitting.
Thankfully, things loosen up a bit when Billy reconnects with old friend Tick Willis (Forest Whitaker), an ex-boxer now running a gym to keep the local youths off the streets. Initially, Tick is simply the grizzled, no-nonsense, wise-cracking boxing mentor who gives Billy pep talks and forces him to reevaluate his life. Soon enough, though, we begin to see cracks in his foundation; he’s a wounded soul, full of bitterness and regret. The performance sometimes verges on loopy, but Whitaker has gravitas, while also managing to bring nuance and subtle humor to the role.
Also strong in the redemption section is Billy’s up-and-down relationship with Leila. Father-daughter redemption isn’t a new concept, but Fuqua embraces it and develops the relationship. The execution can be shaky at times, but Fuqua sticks with it. Their bond ultimately resonates, and the redemption feels deserved.
“Southpaw” could taken more narrative risks. The score by the late James Horner, while moving, is oppressive and gets in the way of the movie, making scenes more melodramatic than they should be.
On the other hand, the fight scenes are visceral and well done. Cinematographer Mauro Fiore uses hand-held cameras, guiding us in and out of the ring, bringing us up uncomfortably close and personal with our battered, grieving protagonist.
Yet, the movie’s strengths primarily come from the actors. Without them, “Southpaw” would be much worse. Gyllenhaal’s performance of tremendous highs and his shear commitment to the role is astonishing to behold. It makes you wonder what character he will disappear into next.
(Rated R for language throughout, and some violence.)