Chuck aka The Bleeder (2017) Review!!!!

Synopsis – A drama inspired by the life of heavyweight boxer Chuck Wepner.

My Take – The moment I got to know about this film, my instant reaction was to frown upon the knowledge of yet another boxing film in existence! Especially keeping in mind that box office & critical flops Hands of Stone starring Édgar Ramírez & Robert De Niro and Bleed for This starring Miles Teller released just last year. Over the years, countless hard luck boxing dramas have released, while some do deserve a re-watch just for the purpose of sheer pleasure, the remaining aren’t just worth the pain of suffering through, luckily this one isn’t like that. If you have read the synopsis & something about this Philippe Falardeau directed film about the New Jersey born Chuck Wepner, who made a name for himself as a heavyweight boxer in the mid-70s feels familiar, its mainly because, back in 1976 an unknown actor by the name of Sylvester Stallone used the life of this little known up starter to write a film about an unknown boxer going the distance against the Champion of the World, the film known as Rocky went on to win a Best Picture Academy Award & gain a cult status. And while the fictional Rocky got another shot at the title, Chuck’s life went sideways, tearing everything in his life apart. Unlike other boxing films, here, director Philippe Falardeau (Monsieur Lazhar) and the four co-writers (Jeff Feuerzeig, Jerry Stahl, Michael Cristopher, Liev Schreiber) spend very little time in the boxing ring or with the usual training montages, and instead focus on how Wepner’s ego and inability to handle fame affected his family, his health and his life. This is a portrait of Chuck as a common man, and it’s at times more painful than the barrage of punches the flamboyant black champion Mohammed Ali landed on him.

The story follows Chuck (Liev Schreiber), a local Jersey celebrity, a heavyweight fighter more known for the ways he bleeds profusely during matches than any particular skill. The guy can take a punch and wins matches through attrition, which eventually lands him an opportunity to fight none other than Muhammad Ali (Pooch Hall), all thanks to his manager, Al Braverman (Ron Perlman). Even though, he loses the fight, Chuck manages to last for 15 rounds leading to his sudden increase in celebrity status. With all the craved attention pouring down him, back at home, his devoted wife, Phyliss (Elisabeth Moss) and loving daughter, Kimberly (Sadie Sink), grow increasing frustrated by his negligence. He gets a second brush with fame once a young Sylvester Stallone (Morgan Spector) writes and stars in a film loosely based on him called ‘Rocky’. Once the flick becomes a phenomenon, Chuck takes advantage of of being the guy who inspired the 1976 Best Picture by reaching out to Sylvester Stallone himself, while also increasing using cocaine and pursuing even more women, including a local bartender named Linda (Naomi Watts), who isn’t interested in being involved with a married man. Following a couple of mishaps with his family & friends, Chuck is caught in a sting operation & ends up earning a prison time, which is followed up by his inevitable shot at redemption. Here, director Falardeau in an extremely beautiful and delicate manner turns what might easily have been another boxing film into a relationship piece illuminating Wepner’s most difficult moments outside the ring. When it comes to boxing, the key is the backstory, while the fighting part is important, a good backstory like a simmering rivalry between the fighters perhaps, or an up-from-the-bootstraps tale, or maybe a struggle to overcome outside-the-ring adversity, you’ve got more than just a fight, you’ve got genuine drama. Luckily, this one has it all, without it, director Phillipe Falardeau‘s film would be a fairly unremarkable, fairly familiar ride, telling the tale of a big-hearted but undisciplined palooka whose biggest hurdle in life is his own bad judgment. It’s not the first time we have seen the pitfalls of instant fame and celebrity status, and even though it’s a true story, there is a familiarity to it that makes the plight of this lovable lug quite easy to relate to. Wepner’s blue-collar narcissism may have been the cause of much of the pain in his life, but it also allowed him to become a folk hero. The film relies heavily on the deeply flawed characterization of Chuck Wepner. He is pathetic man who pusillanimously hides behind his brute strength and iron jaw & lives in a fantasy world that is gaudy, superficial and lacking depth–much like the “Rocky” image he so desperately attempts to live up to. It also doesn’t hurt that the film is admirably free of hero worship. Chuck Wepner might ultimately emerge as a good person, but only after he’s shown at his weakest and most out of control. Director Falardeau delivers no shortage of 1970’s cheese – wardrobe, facial hair, disco music, party drugs, and night clubs – but there is also enough humor to maintain balance: Wepner explains after the Ali fight how he tried to “wear him down with my face”. By the end we aren’t sure if Wepner was self-destructive or simply lacking in dependable counsel. Either way, the journey of self-discovery is even more interesting than the boxing career, and the film is punctuated with closing credit footage that provides viewers with a sense of relief. A tragic ending has been averted, and Chuck remains a local Bayonne, New Jersey resident – even if he’s no longer a bleeder.

Besides the obvious main story of Wepner’s fight with Ali, little details emerge that shows Wepner’s influence on Rocky. Chuck writes poems, Rocky writes poems for Adrian, the way Rocky goes back to a real job following his big fight, mirror’s Wepner’s life as well. If you look close, you’ll see many more, as well as ways that it inspired other Stallone films, with Chuck having a great scene linking Wepner’s life to Stallone’s film, Lock-Up. Wepner is called upon to be a consultant and is shown in shackles and prison garb, yet, when he sees Stallone staging the story, he realizes his life is not Stallone’s version. This is the turning point of the film and for Chuck Wepner. He reconciles with his brother John, played sharply by Michael Rappaport and eventually marries Linda and the two spend the rest of their lives together in close relationship. Only therein lies the hiccup. You can never tell Wepner’s story without what happens after his parallel journey to the Italian Stallion because he inspired Rocky Balboa. And what that type of fame did to him makes it difficult to feel much empathy unless the film allows us to laugh with Wepner at his foibles rather than at him alone & for the most part Falardeau’s film does exactly that. Written by Jeff Feuerzeig and Jerry Stahl before Michael Cristofer and star Liev Schreiber re-worked things, Chuck plays as though an anecdote told by the man himself. The film strings us along to show how someone with the gumption to go toe-to-toe with Ali could eventually find himself in a ring opposite a bear. He’s narrating with self-deprecation, a modicum of regret, and very little guilt. What he does isn’t always moral and he most certainly hurts a lot of people before redemption, but everything that happened did get him to where he is today. Chuck understands the error of his ways and is shown to pay the price, so why not have some fun sharing the juicy details? Whereas Rocky built slowly until it culminated in Rocky’s big chance against Apollo Creed, and the satisfying loss of being proud knowing that he went the distance, the film works quite the opposite. The film has a strong start and crescendos as Chuck Wepner has his moment in the sun facing Ali. Unfortunately, the film isn’t even 1/2 over at this point. After that, the film struggles through Chuck’s downward spiral, and never seems to know what kind of ending it needs to have & struggles for a knockout moment before its third act. It is still a film worth seeing, if for nothing else to see a great performance from Leiv Schreiber and the rest of the cast. Liev Schreiber is fantastic in the film. After great performances on Showtime’s Ray Donovan and the Oscar winning “Spotlight” it’s about time the actor gets the merit he deserves. Also serving as a writer and producer, Schreiber jumps fully into the life of a man we all know, even if we don’t know it. Schrieber paints the character with hangdog compassion without ever pandering for empathy. It’s a wonderfully layered, wounded, and surprisingly funny performance. This character could easily have been played as one-note, but Schrieber brought so many different layers to him. You understand that he’s a really despicable guy, but Schrieber lets you see that he’s really a broken man who has lost his way. You’re not exactly sure whether Chuck is the protagonist or the antagonist, but it’s the subtlety of Schrieber‘s acting that really lets you buy into this complex character. It’s tough for an actor to get Oscar consideration for a performance in the first half of the year, but Schreiber is worthy. The supporting cast delivers equally impressive portrayals, be it Elisabeth Moss’ fed-up housewife, Jim Gaffigan’s burnout bad influence, Ron Perlman’s struggling coach, Michael Rappaport’s estranged brother John, Naomi Watts as his confidant and second wife Linda and Morgan Spector‘s surprising take on Sylvester Stallone. Somehow, I did not like Schreiber‘s co-star on Ray Donovan, Pooch Hall as Muhammad Ali. It was a small role, but still, it’s Ali, I wish they did better. On the whole, ‘Chuck’ aka ‘The Bleeder’ is an odd meta biopic that is just not brutal & funny but also very entertaining.