Giant Film Analysis: Prince Naseem Biopic Starring Brosnan Misses the Punch

This film features a talented cast, depicting the true story of Irish boxing trainer Brendan Ingle, who guided a cheeky Sheffield teenager from Yemeni immigrant family. Dubbed “Prince” Naseem Hamed, the youngster was taught to stand up to racist bullies and molded into a media-friendly world champion in the 1990s. Ingle cultivated his flamboyant confidence and powerful punches, but after becoming rich, Hamed turned against his coach, excluding him and turning him into a mix of John Falstaff and Danny Rose.

Performers and Roles

Pierce Brosnan portrays the trainer; Amir El-Masry takes on the part of Hamed, and Stephens is the bullish promoter Frank Warren, who recognized the potential that Ingle had uncovered.

Film’s Shortcomings

However, the movie frankly lacks the fighter’s fancy footwork: the boxing sequences flow well, but the all-important drama between them is consistently dull and monotonous. It lacks nuance or light and shade in the portrayal of the protagonist himself, and El-Masry, an otherwise outstanding performer, doesn’t get the chance to display any depth or much of what might make his role truly engaging – even though he’s obviously been working out and looks very plausible in the boxing arena.

Problems with Script and Sound

The drama is often lumbered with utilitarian, explanatory lines that tell you exactly what is going on and what we are supposed to be thinking (“Your journey began your career at age seven …”). It is the kind of script that digital producers call “second-screen”, ensuring you know what’s unfolding while you’re viewing the movie but also checking your device. And, the background music is overbearing, sometimes nearly deafening, especially in the scene where Hamed gets overexcited calling on the promoter in his luxurious residence.

Performances and Key Moments

Although the leads do their very best, their relationship never really comes to life, and the big set-piece fight scenes are frequently anticlimactically truncated. A key scene is surely when, goaded beyond endurance in the training facility one day by the boxer as a misguided “old man”, Ingle actually offers to step into the ring and box him. All present in the room is shocked and uneasy. How exactly is this insanely unwise standoff going to unfold? How precisely the outcome? Certainly the champion is going to defeat him? Or will he sentimentally hold back? The resolution remains ambiguous.

Bright Spots and Comedy

This isn’t to imply that there are no some good moments. The actor gets laughs when Ingle informs a journalist what he’s teaching the kids from his neighborhood: to reject bias and when you encounter a offender, “Hit them in the bollocks”. Amusing too when Hamed squirms at the silly stunts Ingle makes him do in the beginning: posing as the “monster from the East”.

Storyline and Final Thoughts

As for the falling out, the film depicts this as being worsened by a revealing book that Ingle is supposed to have authored (a plot point evidently modified from another source), and there is an interestingly conceived last discussion – although the emotional tribute that the boxer is supposed to have given to his mentor after his passing is merely referenced in the closing credits, and not shown on screen. Some engaging content here, but the blows fail to connect.

Giant was shown at the festival and is in British and Irish theaters from 9 January.