‘I Am Ali’ : An Intimate Look At an American Icon

Ali was not, it seems, an uneasy, distant patriarchal figure. His masculinity was characterized by deep emotional expressiveness. Lewins’s employment of beautiful family photos, home movies and those engaging recordings serve to reinforce the impression.

Poster of I Am Ali
Poster of I Am Ali

 


Written by Rachael Johnson.


Only children should have heroes and heroines, but if there is a hero worthy of worship it is Muhammad Ali. Ali was not only a supreme boxer; his extraordinary charisma granted him enormous celebrity outside the ring and he transcended his profession to become one of the most important cultural figures of the ’60s and ’70s. Ali was, and remains, a symbol of Black pride and consciousness in both the United States and abroad. Even today, young people from Cuba to Ghana are familiar with his name and achievements. Ali was diagnosed with Parkinson’s Disease in the early ’80s but it has not prevented him having an active public life. He became an advocate for those with the condition and devoted himself to humanitarian work. Ali is now a revered figure in the United States but this was not always the case. Many in the white establishment and mainstream media hated him. They saw Ali’s conversion to Islam as a threat and despised him for refusing to fight in the monstrosity that was the Vietnam War. The boxer was punished for refusing military service: his heavyweight title was taken away from him and he was banned from boxing for four years from 1967 to 1971. On the sorrowful day Ali leaves us, hypocrites who reviled him will, no doubt, express condolences and the mainstream media will try to depoliticize and deradicalize him like they did with Mandela.

With daughter Maryum
With daughter Maryum

 

There have been numerous narrative and documentary films devoted to Muhammad Ali. The most well-known biopic of this century is probably Michael Mann’s Ali (2001) starring Will Smith in the title role. There have also been several excellent documentaries on the boxer. The recently released documentary, The Trials of Muhammad Ali (Bill Siegel, 2013) examines the political fight Ali had outside the ring when he refused to fight in Vietnam. Note that the television film Muhammad Ali’s Greatest Fight, also released in 2013, deals with the legal battle. Many documentaries have studied his legendary fights inside the ring. When We Were Kings (Leon Gast, 1996) examines Ali’s celebrated 1974 fight against George Foreman in the Central African nation then called Zaire (the present-day Democratic Republic of Congo) although it does so much more than anatomize the bout. It is a stirring portrait of an epoch-defining cultural and political event. Although it also examines the public, political Ali, Claire Lewins’s I Am Ali (2014) focuses on the boxer’s private self.

With Veronica
With Veronica

 

I Am Ali features interviews with people close to Ali, among them his former manager, Gene Kilroy, trainer, Angelo Dundee (who died in 2012), brother, Rahaman Ali and son, Muhammad Ali Jr. Crucially, the documentary gives voice to Ali’s ex-wife, Veronica Porsche, and daughters Hana and Maryum. There are not many profiles of male boxers that feature female public and/or private voices. Lewins has also greatly benefited from access to taped recordings of conversations Ali had with his children. Intended as childhood audio journals, they lend an incalculable poignancy to the film. I Am Ali is, in fact, extremely moving. Hearing the boxer singing Mamas and the Papas songs with 3-year-old Hana makes you cry. Commentary by his daughters indicate that Ali was a great father despite his hectic travelling schedule. Maryum and Hana describe a playful, loving personality. Ali was an inspirational man to his loved ones too. We hear him asking Maryum when she was little: “If everyone’s born for a purpose, what do think you were born for?” Ali was not, it seems, an uneasy, distant patriarchal figure. His masculinity was characterized by deep emotional expressiveness. Lewins’s employment of beautiful family photos, home movies and those engaging recordings serve to reinforce the impression.

With Veronica and Hana
With Veronica and Hana

 

As a husband, the younger Ali was, reportedly, more complicated.  Although an intimate portrait of the man, the documentary does not examine his marital and romantic life in depth. Lewins, however, rightly allows a tearful Veronica to describe her “fairy tale days” with Ali and more painful ones: “He’s a really good-hearted person, very sensitive, and I guess I’m crying because of his situation now. You know, and I’ll always love him, I mean not like ‘in love’…we’ve always been friends. It became hard to live with him because, everyone knows, the whole world knows, he wasn’t faithful as a husband. There’s a story to that too, but I think but he’s an incredible human being. He has a beautiful heart…”  Is I Am Ali hagiography? Perhaps. What is clear, though, is that Ali was, and is, much loved by people close to him.

Daughters Hana and Maryum
Daughters Hana and Maryum

 

Clare Lewins not only incorporates private, female voices in her documentary; I Am Ali also features an interview with a boxing fan, Russ Routledge, from Newcastle in the North East of England who once stayed with Ali in his home in the States. In doing so, she exhibits both a feminist and populist consciousness in her portrait of the boxer. The British director, further, examines Ali’s warm relationship with the United Kingdom. Lewins tells the improbable tale of his visit to South Shields (also in the North East of England) where his marriage to Veronica was blessed in the local mosque. This is of personal interest to me as it is the town where I was born.

Brother Rahaman Ali
Brother Rahaman Ali

 

Although it focuses on the private Ali, the documentary also addresses the public and political aspects of the man. I Am Ali is graced with fantastic iconic shots of the boxer and remarkable archival footage of powerful old interviews and speeches. Ali spoke out against racial injustice and the documentary features a potent, witty speech on white supremacist indoctrination by the boxer. It examines his growing political awareness and chronicles his conversion to Islam as well as his refusal to fight in Vietnam. Ali’s refusal to fight, in my mind, remains the most courageous thing he has ever done in his courageous, wonderful life. I Am Ali features the boxer’s memorable statement about his decision: “Why should me and other so-called negroes go ten thousand miles away from home here in America to drop bombs and bullets on other innocent brown people who’s never bothered us and I will say directly no I will not go ten thousand miles to help kill innocent people.”

Clare Lewins with Maryum and Hana
Clare Lewins with Maryum and Hana

 

I Am Ali is, perhaps, not the finest documentary about the legendary boxer. The fascinating and thrilling When We Were Kings remains a personal favourite. It is  is, nevertheless, an insightful and tender exploration of both the public and private Ali. Giving voice to the man himself and those closest to him, it is a deeply emotional ode to both family love and noble ideals.

 

‘Our Spirits Don’t Speak English: Indian Boarding School’

Time for a serious interlude. ‘Our Spirits Don’t Speak English: Indian Boarding School’ is an 80-minute documentary that tells a story about the Indian boarding school experience from the Native American perspective. The dark history of Indian boarding schools sanctioned by U.S. government policy is a stain on this nation, but one that very few people know about. This film provides an emotional and logical overview of these boarding schools and the continuing effects on today’s Indigenous populations.

Time for a serious interlude. Our Spirits Don’t Speak English: Indian Boarding School is an 80-minute documentary that tells a story about the Indian boarding school experience from the Native American perspective. The dark history of Indian boarding schools sanctioned by U.S. government policy is a stain on this nation, but one that very few people know about. This film provides an emotional and logical overview of these boarding schools and the continuing effects on today’s Indigenous populations.

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The film begins with a voiceover by August Schellenberg as white text punctuates a black screen to emphasize certain words and phrases. Interviews with Native peoples who survived the boarding schools and those who had parents or grandparents who survived them provide some of the most compelling information – the first-person story. Produced by Rich-Heape Films, a Native American owned company, Our Spirits Don’t Speak English weaves interviews, narration by Gayle Ross, a Cherokee historian and storyteller, historical photographs, and contemporary stories of experience for the Indigenous peoples who continue to be affected by the cultural, emotional, and spiritual damage done by these boarding schools.

Cherokee historian and storyteller, Gayle Ross

Gayle Ross explains after the opening segment, “In the beginning, going to school for Indian children meant listening to stories. These tales were metaphors for life experience, often involving heroes and monsters, conquest and survival. It’s not unlike the story we’re here to tell today, for one of the most formidable challenges in our past was the Indian boarding school experience.”

Dr. Clifford Trafzer, professor of American Indian history, director of public history, and director of graduate studies at the University of California, Riverside, provides some historical perspective: “Columbus, and those who came in his wake, expected Indian people to become European-like. That has been the educational system of Europeans and Americans from the start, to try and destroy that which was Indian.”

Dr. Clifford Trafzer

This perspective leads into a personal story told by Rose Prince Prince (Yupik, Wrangell Institute). Her anger and emotions are held in check, but clearly bubbling beneath the surface of her words and eyes: “I want to tell you where I came from. A safe, warm, loving home. I was never hungry, I was never cold. My parents took good care of me. I was well-dressed, had all that I needed, I was loved. And I was taken from that and put in a cold institutional environment, made to strip. My identity was taken away. Who I was was gone.”

One of many Indian boarding schools: Carlisle, 1885

These stories and perspectives continue throughout the film, deepening the viewer’s understanding of the cultural genocide that occurred here not that long ago. In 1819, the American Congress pass the Indian Civilization Act, designed to “civilize the Indians and, indirectly, Christianize them” (Boarding School Blues 10). Established in 1879 by Captain Richard Henry Pratt, the Carlisle Indian Boarding School in Pennsylvania was a “living experiment” in which to “destroy the cultural foundation of Native Americans so that they could enjoy full citizenship” (Boarding School Blues 14 and 101). If any of this surprises or shocks you, or if it is new information, you should spend the 80 minutes to watch Our Spirits Don’t Speak English. Begin your education anew and while watching this film, remember that it presents a decidedly negative view of the boarding school experience.

There are Indigenous peoples for whom the experience was more positive. However, most scholars accept that the over-arching experience was ultimately a negative one for most who lived through it. The range of stories and perspectives on this cannot be contained by one 80-minute documentary, but it is a good start.

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Recommended reading for anyone interested in the subject and history of Indian boarding schools:

Boarding School Blues (2006), edited by Clifford Trafzer, Jean Keller, and Lorene Sisquoc
They Called It Prairie Light: The Story of Chilocco Indian School (1994) by K. Tsianina Lomawaima
Education for Extinction: American Indians and the Boarding School Experience 1875-1928 (1995) by David Wallace Adams

Our Spirits Don’t Speak English is available from Rich-Heape Films for home or public viewing use and can also be purchased from such retailers as Amazon, but is not available to stream. This film would make an excellent addition to any curriculum discussion of American education, Native American experiences, American history, or government treatment of citizens.

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Dr. Amanda Morris is an Assistant Professor of Multiethnic Rhetorics at Kutztown University of Pennsylvania with a specialty in Indigenous Rhetorics.