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Knock out Extreme close-ups lend an immediacy to the proceedings

CCTV-like, extreme close-up and over-the-shoulder shots dominate the steel-grey and grim-blue movie interspersed with frames of the morning-gloominess of factories huffing smoke and Marco’s focussed training as he jogs along the streets of a ‘German ex-coalminer’s city’.

Marco, who belongs to a socially and economically disadvantaged background, takes to boxing for many reasons, the primary one being to channel and vent his frustration, fear and anger of family problems, and desperate living.

What brought a smile was his first coach’s name, “Ali”. And as Marco paces around the boxing arena, perspiring and ready-to-win, the camera is interestingly, positioned from the eyes of a bystander; like you’re there watching and feeling the pulse of the moment, energised by thumping music.

There is plenty of family drama and emotion, whether in his father Axel’s constant craving for alcohol, or the deep pit he cannot pull himself out of. Also brought out well was the power of patriarchy and control of property in the way Axel decides his son’s career and when Marco’s mother still accepts her husband and goes back to him.

What is a ‘good job’ is also highlighted when Axel remarks: “He wants to be a boxer, not work” and hurtfully pulls down Marco’s poster of his idol, Mohammad Ali.

Pointedly, Marco also mirrors this patriarchal figure of domination when he catches his sister with her boyfriend when he moves into his own flat.

The tension between his friend, Bulent, and him when he doesn’t update him about his decision to train under a new coach, Gerd is also emphasised, especially after an easy-going friendship.

Now, Gerd is the man with a clear-cut vision — his cold, unfeeling views about women and his determination to push Marco and upset his balance between education, family and a job.

He gives Marco a place of his own, which in turn gives the budding-boxer confidence and self-assurance. The frustration and insecurity of Marco about his ‘single’ status is depicted thoughtfully in a frenzied boxing-vent in front of a mirror — almost as if he were boxing himself. This is ‘overcome’ when he goes with Bulent (a womaniser) to a night-club and almost ‘wins’ despite his hesitation and awkwardness, when duty calls and he leaves.

The ‘fleeting’ random girl who Marco exchanges smiles with on the street becomes ironically, the wife of someone who Marco is forced to beat up because of non-payment to Gerd.

Another awkward moment is when he gets caught roughing someone by Bulent in a restaurant in a similar shady deal.

A revealing moment was when Gerd, the man who Marco’s mother was afraid her son would end up like, is his own father.

But Marco handles the news quite maturely; quite unlike his brash, uncontrollable self.

The most poignant scene was when his ‘step-father’ collapses. Graphic shots of blood everywhere are intense and gripping.

The end was a moving reconciliation of (step) father and son, when he comes to watch him box and finally Marco finds a father-figure and a warm, special bond with his step-father who brought him up, despite his shortcomings.

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