Boxing: A lots of British fans

Boxing:  A lots of British fans

• All in a weigh-in: Insults, songs, death stares and lots of British fans
• Haye whose fans are out in force that Steve Bunce sees chaos in a Hamburg sports shop as Klitschko comes in two stone heavier.

        The British fans. Spotted at 7am either getting in the queue early, getting in the queue at the end of another long Hamburg night. The moment members of both boxers' swollen retinues stage in their matching tracksuits. Mainly a glorious chorus of comic, predictable, surreal and malicious abuse.

The clammy grip of boxing fever heavyweight fight in front of 60,000 people at Imtech Arena, city that Wladimir Klitschko to David Haye at the chaotic and memorable of the final looks their separate ways.

        Klitschko stand on his toes when he stepped on the scales, before getting close and whispering a few words "I can't ever repeat what I said, it was deeply personal," he claimed that just a second even Haye looked impressed. Klitschko appeared to say his vast left shoulder which his big brother Vitali heard just before he seem to step forward with intent.

Terrence Malick's "The Tree of Life" is a film of vast ambition and deep humility.

Terrence Malick's "The Tree of Life" is a film of vast ambition and deep humility,

       "The Tree of Life" is a film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. 

        The only other film I've seen with this boldness of vision is Kubrick's "2001: A Space Odyssey," and it lacked Malick's fierce evocation of human feeling. There were once several directors who yearned to make no less than a masterpiece, but now there are only a few. Malick has stayed true to that hope ever since his first feature in 1973.

        I wrote earlier about the many ways this film evoked my own memories of such time and place. About wide lawns. About a town that somehow, in memory, is always seen with a wide-angle lens. About houses that are never locked. About mothers looking out windows to check on their children. About the summer heat and ennui of church services, and the unpredictable theater of the dinner table, and the troubling sounds of an argument between parents.

        I don't know when a film has connected more immediately with my own personal experience. In uncanny ways, the central events of "The Tree of Life" reflect a time and place I lived in, and the boys in it are me. If I set out to make an autobiographical film, and if I had Malick's gift, it would look so much like this. 

        His scenes portray a childhood in a town in the American midlands, where life flows in and out through open windows. There is a father who maintains discipline and a mother who exudes forgiveness, and long summer days of play and idleness and urgent unsaid questions about the meaning of things.

        The three boys of the O'Brien family are browned by the sun, scuffed by play, disturbed by glimpses of adult secrets, filled with a great urgency to grow up and discover.